Tuesday, September 30, 2008
Monday, September 29, 2008
WINO!
On Nov. 4, Temporary Residence is releasing a double-CD from Wino, which broke up way the hell back in 1999. The two-hour, 36-song set, A Bottle of Pills With a Bullet Chaser, compiles the band's entire recorded history, and was thought to be lost in a fire at drummer Richard Vier's house.
Here's the track listing:
Disc 1:
Dutch Oven
Red Wings
Yam Hand
Dogs
Inspiration
Desperation
One-Eyed Willie
Glass Blower
A Minute Fifty-One
Burn Down The Brick Factory
*****
Attack Utopia
Eon
Fast Freddie
Make-Out Party
Disc 2:
Mountain River
Heaven
Winner Takes Nothing
Mensural
Johnny Deeper
Guns
What The Paper Said
Downtown
Truth Cigar
Spiked Heels And Leather
Blue Tree
Best Freind
Red Eye
Edward
Finish Line
Saturday
Searchin'
In The Light
Best Friend
Dead Bird Fight
My House
Here's the track listing:
Disc 1:
Dutch Oven
Red Wings
Yam Hand
Dogs
Inspiration
Desperation
One-Eyed Willie
Glass Blower
A Minute Fifty-One
Burn Down The Brick Factory
*****
Attack Utopia
Eon
Fast Freddie
Make-Out Party
Disc 2:
Mountain River
Heaven
Winner Takes Nothing
Mensural
Johnny Deeper
Guns
What The Paper Said
Downtown
Truth Cigar
Spiked Heels And Leather
Blue Tree
Best Freind
Red Eye
Edward
Finish Line
Saturday
Searchin'
In The Light
Best Friend
Dead Bird Fight
My House
Whitehead & Co.'s new Southside CD
From Ron:
30 tracks
recorded one night all one take no rehearsal
recorded mixed mastered by Kevin Ratterman at his Funeral Home Studio
$20
available earX-tacy records Bardstown Road Louisville Kentucky
and at www.tappingmyownphone.com and www.southsideoutlaws.com
WE ARE THE STORM dedicated to Hunter S. Thompson & The Storm Generation
(note: all texts correct. the plant somehow reversed cd1 and cd2)
Disc 1
1. Joy & Sorrow
2. Home
3. Little Wing/Purple Haze/The Storm Generation Manifesto
4. Song For You
5. 4U (Flaming Hearts)
6. Raymond
7. I Walk These Hills
8. The Old Witch
9. If I Could Start Again
10. Worth Dyin For
11. Poncho and Lefty
12. Angel From Montgomery
13. It's A Shame
14. She Called Me The Storm
Disc 2
1. Joy & Sorrow II
2. Play That Funky Music White Boy
3. Sunshine of Your Love
4. What's Love Got To Do With It
5. Dead Flowers
6. White Rabbit
7. You Ain't Goin Nowhere
8. Blinded By Rainbows
9. All Along The Watchtower/What World We Have Born Ourselves Into
10. Champagne & Reefer
11. Epitaph
12. Punks Ain't Dead
13. My Old Kentucky Home
14. Mr. Bojangles
15. Knockin On Heaven's Door
16. Great Spirit
(c)(p) 2008 Ron Whitehead and SOUTHSIDE
SOUTHSIDE Members:
Scott Mertz (vocals/guitar/harmonica)
Sarah Elizabeth (vocals/guitar)
Andy Cook (percussion/drums/didgeridoo)
Kelly Render Wilkinson (vocals/guitar)
Lightnin' Luke Powers (electric guitar/vocals/harmonica)
Yoruba Kikiloma-Mason (vocals)
LIsa K (vocals/guitar)
Lee Troutman (guitar/vocals)
Tyrone Cotton (guitar/vocals)
Dustin Boeh (electric bass)
April Flynn (fiddle/violin)
Michael Dean Odin Pollock (electric guitar/vocals)
Rebekah Trigg (bellydancer)
Iris (bellydancer)
Rani Newman (vocals)
James Vaughn (cello)
Austin Oilfield (electric bass)
Ron Whitehead (vocals)
Honorary Members: Frank Messina, Joe Pasquale, Colin Shaddick, Olafur Gunnarsson
Filmmaker: Helina Berryman
Photographers: Jen Burks, Helina Berryman
Webmaster: Marcus Maraldo
Attorney: Kyle Anne Citrynell
Physician: Nanine Henderson
Red wine sponsors: Fetzer and Franzia
Tour bus driver: Lisa Sullivan
Graphic artist: Pip Pullen
Graphic designer and bus mechanic: Sarah Elizabeth
Baby on the way: Stone
Official seamstress: Rebekah Trigg
Official tattoo artist: Lisa K (All The Way)
Produced by Ron Whitehead
30 tracks
recorded one night all one take no rehearsal
recorded mixed mastered by Kevin Ratterman at his Funeral Home Studio
$20
available earX-tacy records Bardstown Road Louisville Kentucky
and at www.tappingmyownphone.com and www.southsideoutlaws.com
WE ARE THE STORM dedicated to Hunter S. Thompson & The Storm Generation
(note: all texts correct. the plant somehow reversed cd1 and cd2)
Disc 1
1. Joy & Sorrow
2. Home
3. Little Wing/Purple Haze/The Storm Generation Manifesto
4. Song For You
5. 4U (Flaming Hearts)
6. Raymond
7. I Walk These Hills
8. The Old Witch
9. If I Could Start Again
10. Worth Dyin For
11. Poncho and Lefty
12. Angel From Montgomery
13. It's A Shame
14. She Called Me The Storm
Disc 2
1. Joy & Sorrow II
2. Play That Funky Music White Boy
3. Sunshine of Your Love
4. What's Love Got To Do With It
5. Dead Flowers
6. White Rabbit
7. You Ain't Goin Nowhere
8. Blinded By Rainbows
9. All Along The Watchtower/What World We Have Born Ourselves Into
10. Champagne & Reefer
11. Epitaph
12. Punks Ain't Dead
13. My Old Kentucky Home
14. Mr. Bojangles
15. Knockin On Heaven's Door
16. Great Spirit
(c)(p) 2008 Ron Whitehead and SOUTHSIDE
SOUTHSIDE Members:
Scott Mertz (vocals/guitar/harmonica)
Sarah Elizabeth (vocals/guitar)
Andy Cook (percussion/drums/didgeridoo)
Kelly Render Wilkinson (vocals/guitar)
Lightnin' Luke Powers (electric guitar/vocals/harmonica)
Yoruba Kikiloma-Mason (vocals)
LIsa K (vocals/guitar)
Lee Troutman (guitar/vocals)
Tyrone Cotton (guitar/vocals)
Dustin Boeh (electric bass)
April Flynn (fiddle/violin)
Michael Dean Odin Pollock (electric guitar/vocals)
Rebekah Trigg (bellydancer)
Iris (bellydancer)
Rani Newman (vocals)
James Vaughn (cello)
Austin Oilfield (electric bass)
Ron Whitehead (vocals)
Honorary Members: Frank Messina, Joe Pasquale, Colin Shaddick, Olafur Gunnarsson
Filmmaker: Helina Berryman
Photographers: Jen Burks, Helina Berryman
Webmaster: Marcus Maraldo
Attorney: Kyle Anne Citrynell
Physician: Nanine Henderson
Red wine sponsors: Fetzer and Franzia
Tour bus driver: Lisa Sullivan
Graphic artist: Pip Pullen
Graphic designer and bus mechanic: Sarah Elizabeth
Baby on the way: Stone
Official seamstress: Rebekah Trigg
Official tattoo artist: Lisa K (All The Way)
Produced by Ron Whitehead
Friday, September 26, 2008
Keep Louisville Yarmuth
Thursday Oct. 2
Keep Louisville Yarmuth! lunchtime rally
The Genius File
The Ladybirds
Appearance by Rep. John Yarmuth
11:30 a.m. weather permitting
All events on outdoor patio.
Free; all ages
ear X-tacy
1534 Bardstown Road
Keep Louisville Yarmuth! lunchtime rally
The Genius File
The Ladybirds
Appearance by Rep. John Yarmuth
11:30 a.m. weather permitting
All events on outdoor patio.
Free; all ages
ear X-tacy
1534 Bardstown Road
Tour Diary: Paradigm
Days 5, 6 and 7: Crested Butte & Telluride
Crested Butte is a little town modeled directly in the style of those old spaghetti western towns with the swinging saloon doors. Prairies surround the town, of which has one main commercial road and a bunch of houses off to the side; in other words, out of the way of tourists and their cameras. To the northeast of the main strip is a gigantic mountain, a 'butte', which has a crest in it somewhere, hence the town is aptly named. The saloon-looking buildings along the main strip are all clothing stores and souvenir shops, which is boring enough, but they are prohibitively expensive to boot. Your parents might shop in these shops for the sake of novelty, but unless you like the idea of spending a couple grand to look like the narrator from "The Big Lebowski," you probably would not be interested.
Anyway, the people are a great, close knit group of people, who gave us free drinks and forgot to mention that when you are 7,000 feet above sea level, you don't need as much alcohol to get you drunk. I had a beer and a half, and the room was spinning. It amazed me how bars in this town stay in business.
After Crested Butte, we had a night in Telluride, Colo. Telluride is a town of around 2,000 people tucked away in the valley of a gigantic mountain range. It sits at 9,000 feet, and the highest peaks around it reach around 13,000 feet. You can take a gondola up to the main ski peak for free, which is fortunate for us, because everything else in this city is ungodly expensive.
I could blather on and on about the scenery in Colorado, as I imagine anyone who has been here could do. Paradigm has taken me to many parts of the country that I never thought I'd visit and I have loved playing with them for that, but I'll at least say this much: there are absolutely no places we have ever been as beautiful as Telluride and Crested Butte. There are red mountains covered with evergreen trees all over the place — you look up and it's all you see. At night, you can see every star in the sky. Quite different from Louisville.
In Telluride, we played at a place called the Bubble Lounge, which was an oxygen bar, meaning this: the bartender gives you a tube, of which one end goes into your nose and the other end goes into a beaker filled with scented oil. Pure oxygen bubbles through the oil, and you inhale it, breathing normally. It is supposed to relax you and cure high-altitude-sickness, but I was so concerned about getting my money's worth and not breathing any of the regular oxygen that I hyperventilated and started to feel dizzy, which made my altitude-induced headache worse. I am sure it works for normal people.
Anyway, the owners of the club were super-nice and put us up at their condo in Telluride. We leave for Denver tomorrow, have a show the next night, and then we pack it in for home the following day.
*******
Denver and Elsewhere
After Telluride, we headed back to Denver at a place called Quixote's. on our last day off on tour, we had the fortune to visit Red Rocks, a famous amphitheater cut out of, you guessed it, a bunch of red rocks. It's probably the prettiest stage I've ever seen. A friend of ours was the food manager there and comped us lunch, which was delicious(I have a little bit of a foodie streak in me, so I checked out the elk and shi'take mushroom crepes). The venue itself has a sort of mini-museum set up that lists every act that has played there. If you play, you get your name on a big wall with people like the Beatles, Stevie Ray Vaughan, Bonnie Raitt, Phish, Medeski Martin & Wood, and many others. It's inspiring, especially since the people that are up on the wall are either people that have influenced us or people that have made it possible to make the music we play popular to a large audience. You look at that wall and want nothing more than your name on it.
Our last show in Denver, at a place called Quixote's, was strong musically even though we played to a nearly empty room. Sometimes shows are like that; you play your best when you don't care if what you are playing is going to work, and new ideas tend to pop out. Anyway, the bartender and the sound guy though we were great. The people from the halfway house, located across the street, thought we were okay.
Most of the car ride from Denver to Louisville went without a hitch, until around 12:30 in the morning; as John, Dave, and I sat at a gas station on the way home, we got a call from Brian saying that he and Myron got in a wreck and flipped their car two or three times on the highway. There was a little hospital in Sweet Springs, Missouri, about five minutes from where they wrecked. Brian and Myron were sent, via ambulance, to Sweet Springs, and Myron was then transferred to a university hospital in Columbia, about an hour out of the way. He got a nasty bump to the head and his injuries were thought to be serious. Thankfully, they turned out not to be. We picked Brian up, who was released first, and then picked up Myron in Columbia and got two hotel rooms in each respective town. The next day, we rented a car and visited the garage where the wrecked car was.
I couldn't believe anyone survived the accident when I saw the car, yet Myron and Brian walked away with mostly scrapes--no broken bones or concussions. Just as amazing was that most of the gear was still intact, and some of it seemed even completely untouched.
The remaining six hours that we covered today from Columbia to home were spent in mostly silence; maybe sporadic talk about the accident, but not much more. Which is fine. I've spent four or five years on this project and I've known mostly everyone in the band since we were at U of L together. I've grown inseparably close to the others and my life and career after undergrad has been more or less devoted to them. I can't imagine losing any one of them. At this point, we're all a little bewildered of last night's events, and we haven't so much as reacted because I don't think our situation has really sunk in. Tomorrow, some of us have to deal with insurance, tow fees and car rentals, and the loss of thousands of dollars worth of stuff. Tonight, everyone is home and alive, which is more than enough.
Crested Butte is a little town modeled directly in the style of those old spaghetti western towns with the swinging saloon doors. Prairies surround the town, of which has one main commercial road and a bunch of houses off to the side; in other words, out of the way of tourists and their cameras. To the northeast of the main strip is a gigantic mountain, a 'butte', which has a crest in it somewhere, hence the town is aptly named. The saloon-looking buildings along the main strip are all clothing stores and souvenir shops, which is boring enough, but they are prohibitively expensive to boot. Your parents might shop in these shops for the sake of novelty, but unless you like the idea of spending a couple grand to look like the narrator from "The Big Lebowski," you probably would not be interested.
Anyway, the people are a great, close knit group of people, who gave us free drinks and forgot to mention that when you are 7,000 feet above sea level, you don't need as much alcohol to get you drunk. I had a beer and a half, and the room was spinning. It amazed me how bars in this town stay in business.
After Crested Butte, we had a night in Telluride, Colo. Telluride is a town of around 2,000 people tucked away in the valley of a gigantic mountain range. It sits at 9,000 feet, and the highest peaks around it reach around 13,000 feet. You can take a gondola up to the main ski peak for free, which is fortunate for us, because everything else in this city is ungodly expensive.
I could blather on and on about the scenery in Colorado, as I imagine anyone who has been here could do. Paradigm has taken me to many parts of the country that I never thought I'd visit and I have loved playing with them for that, but I'll at least say this much: there are absolutely no places we have ever been as beautiful as Telluride and Crested Butte. There are red mountains covered with evergreen trees all over the place — you look up and it's all you see. At night, you can see every star in the sky. Quite different from Louisville.
In Telluride, we played at a place called the Bubble Lounge, which was an oxygen bar, meaning this: the bartender gives you a tube, of which one end goes into your nose and the other end goes into a beaker filled with scented oil. Pure oxygen bubbles through the oil, and you inhale it, breathing normally. It is supposed to relax you and cure high-altitude-sickness, but I was so concerned about getting my money's worth and not breathing any of the regular oxygen that I hyperventilated and started to feel dizzy, which made my altitude-induced headache worse. I am sure it works for normal people.
Anyway, the owners of the club were super-nice and put us up at their condo in Telluride. We leave for Denver tomorrow, have a show the next night, and then we pack it in for home the following day.
*******
Denver and Elsewhere
After Telluride, we headed back to Denver at a place called Quixote's. on our last day off on tour, we had the fortune to visit Red Rocks, a famous amphitheater cut out of, you guessed it, a bunch of red rocks. It's probably the prettiest stage I've ever seen. A friend of ours was the food manager there and comped us lunch, which was delicious(I have a little bit of a foodie streak in me, so I checked out the elk and shi'take mushroom crepes). The venue itself has a sort of mini-museum set up that lists every act that has played there. If you play, you get your name on a big wall with people like the Beatles, Stevie Ray Vaughan, Bonnie Raitt, Phish, Medeski Martin & Wood, and many others. It's inspiring, especially since the people that are up on the wall are either people that have influenced us or people that have made it possible to make the music we play popular to a large audience. You look at that wall and want nothing more than your name on it.
Our last show in Denver, at a place called Quixote's, was strong musically even though we played to a nearly empty room. Sometimes shows are like that; you play your best when you don't care if what you are playing is going to work, and new ideas tend to pop out. Anyway, the bartender and the sound guy though we were great. The people from the halfway house, located across the street, thought we were okay.
Most of the car ride from Denver to Louisville went without a hitch, until around 12:30 in the morning; as John, Dave, and I sat at a gas station on the way home, we got a call from Brian saying that he and Myron got in a wreck and flipped their car two or three times on the highway. There was a little hospital in Sweet Springs, Missouri, about five minutes from where they wrecked. Brian and Myron were sent, via ambulance, to Sweet Springs, and Myron was then transferred to a university hospital in Columbia, about an hour out of the way. He got a nasty bump to the head and his injuries were thought to be serious. Thankfully, they turned out not to be. We picked Brian up, who was released first, and then picked up Myron in Columbia and got two hotel rooms in each respective town. The next day, we rented a car and visited the garage where the wrecked car was.
I couldn't believe anyone survived the accident when I saw the car, yet Myron and Brian walked away with mostly scrapes--no broken bones or concussions. Just as amazing was that most of the gear was still intact, and some of it seemed even completely untouched.
The remaining six hours that we covered today from Columbia to home were spent in mostly silence; maybe sporadic talk about the accident, but not much more. Which is fine. I've spent four or five years on this project and I've known mostly everyone in the band since we were at U of L together. I've grown inseparably close to the others and my life and career after undergrad has been more or less devoted to them. I can't imagine losing any one of them. At this point, we're all a little bewildered of last night's events, and we haven't so much as reacted because I don't think our situation has really sunk in. Tomorrow, some of us have to deal with insurance, tow fees and car rentals, and the loss of thousands of dollars worth of stuff. Tonight, everyone is home and alive, which is more than enough.
Muckrakers confirm string of appearances
Self-described "wussy rockers" The Muckrakers have confirmed a string of appearances to promote the release of their new album, The Concorde Fallacy, the follow-up to their Label X release Front of the Parade. Since Label X folded earlier this year, The Muckrakers have been moved on ovah to Toucan Cove and Universal. Muck it up:
Friday, Oct 10:
WFPK's "Live Lunch"
Noon, free, first come, first seated. Priority seating for station members.
4th Street Live; 8 p.m.
Saturday, Oct 11
Phoenix Hill Tavern
644 Baxter Ave.
7:30 p.m.
Tuesday, Oct 14
Ear-X-Tacy In-Store
6 p.m.
Free; all ages
Frontier(s)
Frontier(s), the group fronted by former Elliott singer/guitarist Chris Higdon, has posted tracks from its recent recording session on its MySpace page. The tracks aren't even finished yet, but IndieRockReviews couldn't wait to tell you about it, having posted a review on its site. The band was also featured on Buzzgrinder. —MH
Thursday, September 25, 2008
Ziggy Ziggy
Mr. John King, undisputed lover of Louisville, is at it again. The compilation master has managed to bring together artists from Louisville to reinterpret David Bowie’s “The Rise and Fall of Ziggy Stardust and the Spiders from Mars.”
The compilation will be available for pre-order Oct. 1 at www.louisvilleisforlovers.com, and released Dec. 1 online and at ear X-tacy (1534 Bardstown Road, 452-1799). Select tracks will be streamed on www.37flood.com.
Here ’tis:
1. “Five Years,” Phantom Family Halo
2. “Soul Love,” The Slow Break
3. “Moonage Daydream,” The Gallery Singers
4. “Starman,” Six White Horses
5. “It Ain’t Easy,” Trophy Wives
6. “Lady Stardust,” Whistle Peak
7. “Star,” IamIs
8. “Hang On To Yourself,” Milky and the Stones from Earth
9. “Ziggy stardust,” Black Kerouac
10. “Suffragette City,” Wax Fang
11. “Rock ’n’ Roll Suicide,” Joe Manning
12. “All the Young Dudes,” The Crooked Old World
13. “Space Oddity,” Tamara Dearing
14. “Cracked Actor,” The Ladybirds
Past releases of the “Louisville is for Lovers” compilation and the “Louisville Babylon” series are available at ear X-tacy and at www.louisvilleisforlovers.com. —Kory Johnson
Wednesday, September 24, 2008
I'm a Lebowski, You're a Cake
From the dudes:
"The episode of "Ace of Cakes" featuring the delivery of the "Toe Cake" to Lebowski Fest in Louisville will air on the Food Network on Oct. 9 at 10 p.m. EST.
Tune in to watch head chef Duff Goldman deliver the White Russian flavored cake which consists of a giant severed toe, a giant White Russian and bowling pins atop an intricate rug which really tied the cake together.
According to Chef Duff, the cake took over 60 hours to make and once served was devoured in about three minutes.
Duff, who is himself a fan of The Big Lebowski, brought his band "So I Had To" to perform at the 7th Annual Lebowski Fest this past July.
The only known remaining piece of the cake is the bowling pin backdrop which is on display at the WHY Louisville store at 1609-1/2 Bardstown Road in Louisville.
"The episode of "Ace of Cakes" featuring the delivery of the "Toe Cake" to Lebowski Fest in Louisville will air on the Food Network on Oct. 9 at 10 p.m. EST.
Tune in to watch head chef Duff Goldman deliver the White Russian flavored cake which consists of a giant severed toe, a giant White Russian and bowling pins atop an intricate rug which really tied the cake together.
According to Chef Duff, the cake took over 60 hours to make and once served was devoured in about three minutes.
Duff, who is himself a fan of The Big Lebowski, brought his band "So I Had To" to perform at the 7th Annual Lebowski Fest this past July.
The only known remaining piece of the cake is the bowling pin backdrop which is on display at the WHY Louisville store at 1609-1/2 Bardstown Road in Louisville.
Lucky Pineapple: Today on LEO Music ’Cast
Lucky Pineapple's new album, The Bubble Has Burst In Sky City, is a menagerie of unholy rhythms, unabashed partying and, yes, progressive composition. On the eve of the eve of the eve of their record release party, they talk bubbles. Listen here or here. —MH
Monday, September 22, 2008
Mark Geary: Opium
Opium
Mark Geary
(SONABLAST!)
Despite its smooth, relaxing sound, Opium, the third album by Irish singer-songwriter Mark Geary, is unoriginal, uninspired and generally forgettable. His acoustic guitar is pretty enough but becomes monotonous after the first few tracks. In fact, most of the songs sound roughly the same. Ann Smith's melodic voice on “Facin’ the Fall” is refreshing, but it cannot compensate for the album’s overall lack of variety.
The first single, “Tuesday," with its slightly more upbeat guitar and catchy melody, is by far the best song. Too bad it doesn’t make it's the eighth track, following a stretch of depressing, lackluster music.
Geary claims “I like to torture myself with these dark thoughts.” Perhaps it would be best if Geary kept such thoughts to himself and didn’t bring the rest of us down. Mark Geary plays this coming Sunday, Sept. 28, at the Green Building on Market Street. For more information, visit sonablast.com. –Brittany Tracy
Mark Geary
(SONABLAST!)
Despite its smooth, relaxing sound, Opium, the third album by Irish singer-songwriter Mark Geary, is unoriginal, uninspired and generally forgettable. His acoustic guitar is pretty enough but becomes monotonous after the first few tracks. In fact, most of the songs sound roughly the same. Ann Smith's melodic voice on “Facin’ the Fall” is refreshing, but it cannot compensate for the album’s overall lack of variety.
The first single, “Tuesday," with its slightly more upbeat guitar and catchy melody, is by far the best song. Too bad it doesn’t make it's the eighth track, following a stretch of depressing, lackluster music.Geary claims “I like to torture myself with these dark thoughts.” Perhaps it would be best if Geary kept such thoughts to himself and didn’t bring the rest of us down. Mark Geary plays this coming Sunday, Sept. 28, at the Green Building on Market Street. For more information, visit sonablast.com. –Brittany Tracy
Sunday, September 21, 2008
Thursday, September 18, 2008
Starfucker in Louisville
Starfucker
Skull Alley
Tuesday, Oct. 14, 2008
1017 E. Broadway
All Ages, $5
Doors @ 8 p.m., Show @ 8:30 p.m.
6th & Oak
This weekend, at the 6th & Oak Space (536 W. Oak St.)
Friday: Sept. 19: The Fervor, A Bit Shifty, David Cronin (Follow The Train, Cabin): 9 p.m., $5
Sunday: Sept. 21: The Mack, The Parade Schedule, Deep Vibration.
Friday: Sept. 19: The Fervor, A Bit Shifty, David Cronin (Follow The Train, Cabin): 9 p.m., $5
Sunday: Sept. 21: The Mack, The Parade Schedule, Deep Vibration.
Wednesday, September 17, 2008
Alan Rhody CD release
From Alan Rhody:
Our thoughts and good wishes go out to those dealing with power outages, downed trees and any other damage or inconveniences due to "IKE" - The Dog!! This hurricane
reeked havoc all the way to Canada. So, hang in there everyone. This too shall pass.
The good news is: The party is HAPPENING!! The Rudyard Kipling in downtown Louisville escaped any injury or electrical problems and there are many reservations already for Friday night's show! Bring $5. bills!! We'll probably need them.
We're looking forward to a busy weekend! And if we don't see you Friday,
remember on Saturday, one hour after my writing workshop ends at Steilberg's,
4029 Bardstown Road in Buechel, Larry Colburn and I will give another
performance at 5 p.m.
Hope to see you there!
AR
MAKE YOUR RESERVATIONS NOW FOR FRIDAY NIGHT!
CD RELEASE PARTY & SHOW!
FRI. SEPT.19
THE RUDYARD KIPLING
LOUISVILLE, KY
ALAN RHODY & LARRY COLBURN
7:30PM
RESERV. 636-1311
Adm. Only $5.!
Special $5. for the new CD!
PLUS-DRAWINGS FOR
FREE CDs and other merch.!
SAT. SEPT. 20
Elixir Strings and Steilberg String Instruments present
NSAI pro writer ALAN RHODY
SONGWRITING WORKSHOP & PERFORMANCE
STEILBERG STRING INSTRUMENTS
4029 Bardstown Rd. (Buechel)
LOUISVILLE, KY
workshop 11 a.m. - 4 p.m. / performance - 5 p.m.
RESERVE YOUR SPOT: 502-491-2337
http://store.stringinstruments.com
GO TO: http://www.AlanRhody.com/theroad.htm for all the details
THANKS AND HOPE TO SEE YOU REAL SOON!
news@alanrhody.com
PLEASE VISIT ALANRHODY.COM
Our thoughts and good wishes go out to those dealing with power outages, downed trees and any other damage or inconveniences due to "IKE" - The Dog!! This hurricane
reeked havoc all the way to Canada. So, hang in there everyone. This too shall pass.
The good news is: The party is HAPPENING!! The Rudyard Kipling in downtown Louisville escaped any injury or electrical problems and there are many reservations already for Friday night's show! Bring $5. bills!! We'll probably need them.
We're looking forward to a busy weekend! And if we don't see you Friday,
remember on Saturday, one hour after my writing workshop ends at Steilberg's,
4029 Bardstown Road in Buechel, Larry Colburn and I will give another
performance at 5 p.m.
Hope to see you there!
AR
MAKE YOUR RESERVATIONS NOW FOR FRIDAY NIGHT!
CD RELEASE PARTY & SHOW!
FRI. SEPT.19
THE RUDYARD KIPLING
LOUISVILLE, KY
ALAN RHODY & LARRY COLBURN
7:30PM
RESERV. 636-1311
Adm. Only $5.!
Special $5. for the new CD!
PLUS-DRAWINGS FOR
FREE CDs and other merch.!
SAT. SEPT. 20
Elixir Strings and Steilberg String Instruments present
NSAI pro writer ALAN RHODY
SONGWRITING WORKSHOP & PERFORMANCE
STEILBERG STRING INSTRUMENTS
4029 Bardstown Rd. (Buechel)
LOUISVILLE, KY
workshop 11 a.m. - 4 p.m. / performance - 5 p.m.
RESERVE YOUR SPOT: 502-491-2337
http://store.stringinstruments.com
GO TO: http://www.AlanRhody.com/theroad.htm for all the details
THANKS AND HOPE TO SEE YOU REAL SOON!
news@alanrhody.com
PLEASE VISIT ALANRHODY.COM
Tuesday, September 16, 2008
The Hard Lessons: B&G Sides
B&G Sides
The Hard Lessons
(QUACK MEDIA)
B sides can take on the same characteristics as DVD extras. If the scene was so damn good, Mr. and Mrs. director/artist/musician, then why, pray tell, wasn't it included in the film in the first place? This Detroit trio left some gems on the cutting room floor, and this, a compilation of four volumes of B&G's (biscuits and gravy? yum …), is by turns precious and poppy with tons of riff-fueled magnetism, clap-happy choruses and solid, tuneful vocals. "Come Back To Me" is a sassy hip-shaker calling to mind a Pretenders, Blondie, even Pat Benatar, while the airy nursery rhyme "Teen-age Girls Hold The Keys to the World" is a new doctrine for adolescent struggle, but the tunes aren't all burdens and heavy shoulders (see "Don't Shake My Tree") —MH
The Hard Lessons
(QUACK MEDIA)
B sides can take on the same characteristics as DVD extras. If the scene was so damn good, Mr. and Mrs. director/artist/musician, then why, pray tell, wasn't it included in the film in the first place? This Detroit trio left some gems on the cutting room floor, and this, a compilation of four volumes of B&G's (biscuits and gravy? yum …), is by turns precious and poppy with tons of riff-fueled magnetism, clap-happy choruses and solid, tuneful vocals. "Come Back To Me" is a sassy hip-shaker calling to mind a Pretenders, Blondie, even Pat Benatar, while the airy nursery rhyme "Teen-age Girls Hold The Keys to the World" is a new doctrine for adolescent struggle, but the tunes aren't all burdens and heavy shoulders (see "Don't Shake My Tree") —MH
Monday, September 15, 2008
Q&A: White Williams
BY AARON FRANK
LEO: Welcome to Louisville. There are some new members in the band now. Do you all want to introduce yourselves and tell everyone what you play?
Cale: My name is Cale Parks and I play drums and samplers.
Matt: My Name is Matt Papich.
Joe: And I play keyboards and samplers. Matt plays guitar.
LEO: On the first album, I know Joe wrote most of the material. Is the songwriting process with the band different now?
Joe: On the new songs, everyone else helps more. But when I made the first record, that was all by myself.
LEO: So you all just opened for Nine Inch Nails in Lexington recently. I hear Trent Reznor is handpicking the bands for each stop on this tour, so how did that all come about?
Matt: Trent’s an old friend of Joe’s. (laughing)
Joe: That’s not true. I don’t know how we were asked, and we played and the crowd was nice. They were friendly. With that type of audience and with that size of an audience, they were pretty friendly and welcoming for us. I’m sure most of them have never heard of us.
LEO: So this is the first of a string of dates that you all have lined up with Vampire Weekend. How important is touring to a smaller independent band like White Williams?
Matt: I’m starting to think it’s more important than I used to think.
Joe: But for money, that’s not why we go on tour.
Cale: There people that buy our records and go to the shows are two different audiences, I think in some specific cities.
Joe: I think a lot of people who download the record will go to the show, but some people who buy the record may be less likely to go to the show.
LEO: That’s an interesting theory that holds true in a lot of cases I would imagine. You all toured with Dan Deacon and Girl Talk last year. That was your first big national tour, so what was that experience like for you?
Joe: It was fun. It was kind of an abrupt change from what I was doing, because I had never really played out for people before and all of a sudden, we were playing for a whole lot of people at once. So it was a little bit of a learning process.
LEO: They like to incorporate a lot of visual effects into their shows. Because Joe went to art school, did you all follow along with that trend on the tour, and do you have plans to further incorporate that aspect in to your show?
Joe: On that tour, we had someone doing visuals, but that was only because it was convenient because he was also doing visuals for Girl Talk. I mean, it’s something that we’d love to do. It’s just an issue of logistics, if we can bring someone like that around, because that’s another person we have to find a place to stay for, and get them food, and of course, pay them, and even have space for them. So we’re trying to keep things small right now.
LEO: You all incorporate so many different genres of music in to your sound, and I’ve found it pretty difficult to describe to people, as I’m sure many other people have. How would you describe your sound to someone who’d never heard White Williams before?
Matt: Tell him what you told security today.
Joe: We should just say like three words. (Joe points to Matt)
Matt: Hyper
Cale: Pop
Joe: Music (laughter erupts)
LEO: Alright, well we’ve nailed down the White Williams sound.
Joe: Hyphy
Matt: It’s definitely a little hyphy.
LEO: Particularly with the “New Violence” video and some of the songs on Smoke, it seems like you all are influenced by pop culture quite a bit, like TV and movies. Is that an accurate assumption?
Joe: Yeah, I think just by being people from anywhere, we’re influenced by TV. I think a lot of kids grow up with a television set in front of their face these days, so yeah.
Well, even on the opening track “Headlines,” there seemed to be a certain take on the media with the title and lyrics.
LEO: What’s relevance of the title of the album, Smoke?
Joe: Well there’s a song called “Smoke” on the record, and it was named after that song. And I think it’s a word that can just mean a lot of different things to music, where it’s like a material or something. I just thought it worked well as a theme, because of the way that someone might interpret the word. I like there to be a certain vagueness with all of our things, so I think the word worked for the theme of the record.
LEO: Since you’re already very knowledgeable of art and design, I wanted to ask what type of input you had, if any, on the cover art and liner notes for Smoke.
Joe: Yeah, I helped with conceptualizing the album art, but my friend, the artist Andrew Strasser did the album art.
LEO: Are you releasing any more singles from that album?
Joe: Yeah there’s a 7-inch for “New Violence.”
LEO: And you all recently put out a video for “Violator” as well.
Joe: Yeah, there’s a 7-inch for “Violator” as well, and all that stuff is out and available now.
LEO: You recorded that first album in four different places, San Francisco, Brooklyn, Cincinnati and Cleveland. How did all that relocating affect the writing and recording process?
Joe: I think it definitely forced me to use what I had in front of me to work on the record. So it was nice because I had to be complacent with what I had in front of me at the time, so I didn’t really get to have much of a selection process. I couldn’t add all of the things that I thought would sound good. A lot of times, I didn’t have very much to work with, so it was definitely fun to try and get a lot out of what I had in front of me.
LEO: Are you all working on new material right now too?
Joe: We’re going to try and work on the next record in the winter.
LEO: Are you going to take a similar approach to Smoke with the new record?
Joe: We’ll definitely have more help. We’re probably going to get the opportunity to work in a studio on this record. Whereas, with the last record, it was just mixed and recorded by myself. So I think we’ll have the opportunity to work with more people too, if we need to, if there’s someone that’s more talented than we are something with recording or producing.
LEO: Because Cale and Matt are going to have more input, how different is the sound going to be?
Matt: It’s definitely different.
Joe: It’s just been so long since I’ve worked on music, because so much time has passed that I think any time away from working on songs is going to make the sound a lot different. And we’re working together more collaboratively, Matt and I are working together, so there’s definitely more room for change.
LEO: Welcome to Louisville. There are some new members in the band now. Do you all want to introduce yourselves and tell everyone what you play?
Cale: My name is Cale Parks and I play drums and samplers.
Matt: My Name is Matt Papich.
Joe: And I play keyboards and samplers. Matt plays guitar.
LEO: On the first album, I know Joe wrote most of the material. Is the songwriting process with the band different now?
Joe: On the new songs, everyone else helps more. But when I made the first record, that was all by myself.
LEO: So you all just opened for Nine Inch Nails in Lexington recently. I hear Trent Reznor is handpicking the bands for each stop on this tour, so how did that all come about?
Matt: Trent’s an old friend of Joe’s. (laughing)
Joe: That’s not true. I don’t know how we were asked, and we played and the crowd was nice. They were friendly. With that type of audience and with that size of an audience, they were pretty friendly and welcoming for us. I’m sure most of them have never heard of us.
LEO: So this is the first of a string of dates that you all have lined up with Vampire Weekend. How important is touring to a smaller independent band like White Williams?
Matt: I’m starting to think it’s more important than I used to think.
Joe: But for money, that’s not why we go on tour.
Cale: There people that buy our records and go to the shows are two different audiences, I think in some specific cities.
Joe: I think a lot of people who download the record will go to the show, but some people who buy the record may be less likely to go to the show.
LEO: That’s an interesting theory that holds true in a lot of cases I would imagine. You all toured with Dan Deacon and Girl Talk last year. That was your first big national tour, so what was that experience like for you?
Joe: It was fun. It was kind of an abrupt change from what I was doing, because I had never really played out for people before and all of a sudden, we were playing for a whole lot of people at once. So it was a little bit of a learning process.
LEO: They like to incorporate a lot of visual effects into their shows. Because Joe went to art school, did you all follow along with that trend on the tour, and do you have plans to further incorporate that aspect in to your show?
Joe: On that tour, we had someone doing visuals, but that was only because it was convenient because he was also doing visuals for Girl Talk. I mean, it’s something that we’d love to do. It’s just an issue of logistics, if we can bring someone like that around, because that’s another person we have to find a place to stay for, and get them food, and of course, pay them, and even have space for them. So we’re trying to keep things small right now.
LEO: You all incorporate so many different genres of music in to your sound, and I’ve found it pretty difficult to describe to people, as I’m sure many other people have. How would you describe your sound to someone who’d never heard White Williams before?
Matt: Tell him what you told security today.
Joe: We should just say like three words. (Joe points to Matt)
Matt: Hyper
Cale: Pop
Joe: Music (laughter erupts)
LEO: Alright, well we’ve nailed down the White Williams sound.
Joe: Hyphy
Matt: It’s definitely a little hyphy.
LEO: Particularly with the “New Violence” video and some of the songs on Smoke, it seems like you all are influenced by pop culture quite a bit, like TV and movies. Is that an accurate assumption?
Joe: Yeah, I think just by being people from anywhere, we’re influenced by TV. I think a lot of kids grow up with a television set in front of their face these days, so yeah.
Well, even on the opening track “Headlines,” there seemed to be a certain take on the media with the title and lyrics.
LEO: What’s relevance of the title of the album, Smoke?
Joe: Well there’s a song called “Smoke” on the record, and it was named after that song. And I think it’s a word that can just mean a lot of different things to music, where it’s like a material or something. I just thought it worked well as a theme, because of the way that someone might interpret the word. I like there to be a certain vagueness with all of our things, so I think the word worked for the theme of the record.
LEO: Since you’re already very knowledgeable of art and design, I wanted to ask what type of input you had, if any, on the cover art and liner notes for Smoke.
Joe: Yeah, I helped with conceptualizing the album art, but my friend, the artist Andrew Strasser did the album art.
LEO: Are you releasing any more singles from that album?
Joe: Yeah there’s a 7-inch for “New Violence.”
LEO: And you all recently put out a video for “Violator” as well.
Joe: Yeah, there’s a 7-inch for “Violator” as well, and all that stuff is out and available now.
LEO: You recorded that first album in four different places, San Francisco, Brooklyn, Cincinnati and Cleveland. How did all that relocating affect the writing and recording process?
Joe: I think it definitely forced me to use what I had in front of me to work on the record. So it was nice because I had to be complacent with what I had in front of me at the time, so I didn’t really get to have much of a selection process. I couldn’t add all of the things that I thought would sound good. A lot of times, I didn’t have very much to work with, so it was definitely fun to try and get a lot out of what I had in front of me.
LEO: Are you all working on new material right now too?
Joe: We’re going to try and work on the next record in the winter.
LEO: Are you going to take a similar approach to Smoke with the new record?
Joe: We’ll definitely have more help. We’re probably going to get the opportunity to work in a studio on this record. Whereas, with the last record, it was just mixed and recorded by myself. So I think we’ll have the opportunity to work with more people too, if we need to, if there’s someone that’s more talented than we are something with recording or producing.
LEO: Because Cale and Matt are going to have more input, how different is the sound going to be?
Matt: It’s definitely different.
Joe: It’s just been so long since I’ve worked on music, because so much time has passed that I think any time away from working on songs is going to make the sound a lot different. And we’re working together more collaboratively, Matt and I are working together, so there’s definitely more room for change.
Thursday, September 11, 2008
’Birds and John
From singer Sarah Teeple:
"The Ladybirds will be playing a "Keep Louisville Yarmuth" rally at ear-x-tacy (1534 Bardstown Road, 452-1799) at 2 p.m. on Thursday, Oct. 2. We go on right after Yarmuth speaks! Come one, come all!"
"The Ladybirds will be playing a "Keep Louisville Yarmuth" rally at ear-x-tacy (1534 Bardstown Road, 452-1799) at 2 p.m. on Thursday, Oct. 2. We go on right after Yarmuth speaks! Come one, come all!"
Tuesday, September 9, 2008
Young Widows on LEO Music ’Cast
Young Widows stops by to discuss its new album, Old Wounds, and they play a free in-store at ear X-tacy tonight.
Tour Diary: Paradigm, Part II
Days 3&4
As I write, we are driving through the Rocky Mountains, which as you can imagine are outrageously beautiful. I can count the times, aside from this tour, that I've been past the Mississippi River on one finger (with the exception of a plane ride to LA, which doesn't really count), as I grew up in Upstate New York and only really traveled around the bordering northeastern states and some of Canada. Needless to say, it's pretty exciting to be this far west.
We played in Denver on Friday which was not particularly notable, possibly excepting that it was the strongest show musically that we have played on tour so far. John, our guitarist, and I usually find ourselves traveling in the same car(when we go on tour we always take two cars. That way if one car breaks down, the other one can go for help. Plus, if you get pissed at one of your band-mates, you can relegate them to the other car) and we like to use these long stretches of road talk about how we can improve the live show and the direction of the band. These conversations are always time well spent; talking about new ideas before you play can give you a bit of extra spark to try something new on stage. The 8-hour drive from Kansas City to Denver was helpful, I think, because the ideas that came out were a little stronger and fresher than normal. Or, at least different than normal.
Morale among band members is generally pretty positive, although people's moods are subject to change day-by-day depending on the living conditions: amount of sleep, quality of sleep, the absence or presence of showers, etc. We are not the type of band that can sleep in a car for a week and take showers at the end of the tour. I know people in bands that do stuff like that, and I think they're insane. Maybe as a couple more tours go by, we'll be jaded to the idea of touring and will be able to deal with living hand-to-mouth for weeks at a time. As of this point, I'm not really into it.
I'll try to keep updates a little more regular--We're heading to Crested Butte tonight, of which I have never heard of until I found out we were playing there. After the Crested Butte show, we have a couple days off, which we plan to take advantage of in the mountains and lakes around Colorado.
Wednesday, September 3, 2008
Tour diary: Paradigm
Evan Pouchak of Paradigm will be blogging occasionally during the band's western trek.
Days 1 and 2
We pulled out of Louisville at around 3:30 on Monday to start our tour of the Midwest and Colorado. We'll be staying in St. Louis until Thursday, when we travel to Kansas City and then Colorado the day after.
We've played two shows so far--Monday's show was in St. Louis at a place called Cicero's, which looks like sort of a cross between Uncle Pleasant's and a BW3's. We played in front of around 30 early-comers, of whom seemed to like what we do pretty well. The band after us was Madahoochie, a fun pop-oriented jam band with a deep pocket and an absolutely radiant stage presence, of whom were also kind enough to put us up until we left for Kansas City.
Tuesday threw us a bit of a curve ball--our original gig at Pop's Blue Moon was canceled due to renovation, so we latched on to a show down on Broadway with a band called The Schwag. The Schwag is a Dead cover band, and sort of had the same vibe as Louisville's Merry Pranksters. The bar was packed to the brim with deadheads. We played a set before they started, and then one twenty-minute-long tune during their set break. The dead crowd likes dancing(if you do it right they will dance on tables), so we stuck to more of the groove-oriented stuff in the catalouge.
Much of the trip thus far has been about sightseeing. Road trips tend to go like this: either you are on a strict schedule to get from one place to another in a certain amount of time, or you have a day and a half of nothing to do. Ours has been the latter, so a couple of us passed the time by checking out what I assume are the vital tourist spots: the Arch, Busch Stadium, the St. Louis Zoo, etc. At the top of the list, in my opinion, was the City Museum of St. Louis, which is a sort of cross between a museum and an indoor playground designed by Tim Burton. It's an interesting idea; instead of a museum focusing on strictly art or history, it uses found items(scrap metal, pipe organs, rusted out planes, pieces of skate parks) and makes them the exhibit.
Also, there's a seven-story high spiral slide. That in itself is worth the price of admission.
Days 1 and 2
We pulled out of Louisville at around 3:30 on Monday to start our tour of the Midwest and Colorado. We'll be staying in St. Louis until Thursday, when we travel to Kansas City and then Colorado the day after.
We've played two shows so far--Monday's show was in St. Louis at a place called Cicero's, which looks like sort of a cross between Uncle Pleasant's and a BW3's. We played in front of around 30 early-comers, of whom seemed to like what we do pretty well. The band after us was Madahoochie, a fun pop-oriented jam band with a deep pocket and an absolutely radiant stage presence, of whom were also kind enough to put us up until we left for Kansas City.
Tuesday threw us a bit of a curve ball--our original gig at Pop's Blue Moon was canceled due to renovation, so we latched on to a show down on Broadway with a band called The Schwag. The Schwag is a Dead cover band, and sort of had the same vibe as Louisville's Merry Pranksters. The bar was packed to the brim with deadheads. We played a set before they started, and then one twenty-minute-long tune during their set break. The dead crowd likes dancing(if you do it right they will dance on tables), so we stuck to more of the groove-oriented stuff in the catalouge.
Much of the trip thus far has been about sightseeing. Road trips tend to go like this: either you are on a strict schedule to get from one place to another in a certain amount of time, or you have a day and a half of nothing to do. Ours has been the latter, so a couple of us passed the time by checking out what I assume are the vital tourist spots: the Arch, Busch Stadium, the St. Louis Zoo, etc. At the top of the list, in my opinion, was the City Museum of St. Louis, which is a sort of cross between a museum and an indoor playground designed by Tim Burton. It's an interesting idea; instead of a museum focusing on strictly art or history, it uses found items(scrap metal, pipe organs, rusted out planes, pieces of skate parks) and makes them the exhibit.
Also, there's a seven-story high spiral slide. That in itself is worth the price of admission.
Venus Trap on LEO Music ’Cast
Venus Trap discuss their new album, The Key, and they'll celebrate the release of it Friday at Headliners with Lucky Pineapple, Young Widows and The Shondes.
Hear it now at leoweekly.com, or myspace.com/leoweekly
Hear it now at leoweekly.com, or myspace.com/leoweekly
Tuesday, September 2, 2008
Black Diamond Heavies new tour dates; opening for Nick Cave in Chicago
BLACK DIAMOND HEAVIES CONFIRMED TOUR SCHEDULE
Yankee:
Sept. 9, 2008 The Riot Room Kansas City, MO
Sept. 10, 2008 Larimer Lounge Denver, CO
Sept. 11, 2008 The Back Porch Spearfish, SD
Sept. 12, 2008 Highsides Livingston, MT
Sept. 13, 2008 Boundary Bay Bellingham, WA
Sept. 14, 2008 Dante’s Portland, OR
Sept. 15, 2008 Big Pete’s Arcata, CA
Sept. 16, 2008 Caspar Inn Caspar, CA
Sept. 17, 2008 Rickshaw Stop San Francisco, CA
Sept. 18, 2008 Spaceland Los Angeles, CA
Sept. 19, 2008 Plush Tucson, AZ
Sept. 20, 2008 Hotel Monte Vista Flagstaff, AZ
Sept. 21, 2008 The Barn Las Cruces, NM
Sept. 22, 2008 Atomic Cantina Albuquerque, NM
Sept. 24, 2008 Conservatory Oklahoma City, OK
Sept. 25, 2008 Lambert’s Austin, TX
Sept. 26, 2008 Triple Crown San Marcos, TX
Sept. 28, 2008 Riviera Theater Chicago, IL w/Nick Cave
Sept. 29, 2008 Riviera Theater Chicago, IL w/Nick Cave
Yurp
Oct. 15, 2008 What’s Cookin @ The Sheep Walk Leyton, London
Oct. 16, 2008 The Tap House Kiddeminster, Midlands
Oct. 17, 2008 The Sanctuary Birmingham, Midlands
Oct. 18, 2008 The Croft Bristol, Southwest
Oct. 19, 2008 Riff’s Bar Swindon, Southwest
Oct. 20, 2008 Schiving Scholar Plymouth, Southwest
Oct. 21, 2008 The Shakespeare Sheffield
Oct. 23, 2008 Roisin Dubh Galway, Galway
Oct. 24, 2008 Eamonn Doran’s Temple Bar Dublin, Ireland
Oct. 25, 2008 Beatnik Soul Derry, Northern Ireland
Nov. 1, 2008 Fibbers York, Northeast
Nov. 2, 2008 The Shed Leicester, Midlands
Yankee again:
Nov. 11, 2008 Northside Tavern Cincinnati, OH
Nov. 12, 2008 Lisa’s Oak Street Lounge Louisville, KY
Nov. 13, 2008 The Basement Nashville, TN
Nov. 14, 2008 JJ’s Bohemia Chattanooga, TN
Nov. 15, 2008 Star Bar Atlanta, GA
G'day
Dec. 11, 2008 The Zoo Brisbane
Dec. 12, 2008 Manning Bar Sydney
Dec. 14, 2008 Meredith Festival Meredith
Dec. 14, 2008 Corner Hotel Melbourne
Monday, September 1, 2008
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