MusicRVA: Get on Our Top List - New Fun Ways To Link
***************************************
Be sure to sign up for the new Sojournstar Music Network!
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
and if you want to make money while having fun and promoting your band, music or business, then you must
Join me at Weblo Virtual World for Fun & Profit!
Saturday, March 28, 2009
Wednesday, March 25, 2009
Morrissey and Mia Riddle
Christy Sheppard
Richmond.com
Thursday, March 19, 2009
Scene + Heard Concert Review: Morrissey at the National and Mia Riddle at Poe's
Sometimes you look forward to a show for a long time and you end up disappointed. Sometimes you hear a band's recorded music and are bummed when you hear them live. Sometimes, though, reality exceeds your expectations.
I saw two shows last week that were excellent. I see a lot of shows. Shows about which I don't usually care enough to write.
These two shows I didn't want to let fade from my ever-waning memory without putting down in writing for all of you (and all of the world!) to see. Hey, I'm a giver.
First, I caught Mia Riddle and Her Band as they stopped through Richmond via Poe's Pub on their way to Austin's SXSW, promoting their album, Tumble and Drag.
I arrived around 8:15 (because I thought the show as supposed to start at 8) and around 10 o'clock all preparation was complete and Mia's band was ready to go.
I'd been listening to their myspace playlist for a few days prior to the event because I never like going to show completely in the blind, and Mia's band is new to me. She sounded just as great in person as she did in recording. She was pop and she was rock, and she was a little country ... a delightful mixture.
Mia's voice continually reminded me of Jenny Lewis'; a comparison most would welcome. Although she did sound a little raspy and admitted she was battling a cold, it didn't distract from her performance and her voice was strong and pleasant.
I don't know if you've ever seen a show at Poe's but the "stage" is rather small. On several occasions I felt like the band really wanted to rock out but were hindered by the size of the stage. Despite the space limitations, they made the most of the night, and our attention spans.
Everyone but Dave Wyss (bass) had a mic; geez, he must really be a bad singer, huh? I kid.
The rest of the band consisted of Amy Merrill (keys, back-up vocals), Dan Barry (guitar, back-up vocals) and Jeff Neuberger (drums, back-up vocals). Mia stuck to singing and the guitar although she also plays the glockenspiel and keys.
Amy and Mia harmonized well and sounded sweet together. At the risk of sounding creepy, Amy had these super delicate fingers that looked as if they were sculpted just for the keys or for rescuing objects that have fallen into really tight spaces (or for stealing food from the vending machine). She had a funny smirk on her face that lasted most of the set. Apparently we were all having a great time.
As a testament to their songwriting skills, I recognized "Grandchildren", "City Song" and "Open Wide" right away and (happily) was even able to sing along.
In red flats that matched Amy's keyboard, Mia stomped and played her way though the set. I'm compelled to liken her to actor-turned-singer Zooey Deschanel; but Mia has a stonger voice and she's cuter, too. Sorry, I'm only into She & Him sans the "She &" part.
This was the first stop on their tour, so naturally they had a few blips here and there but they easily laughed them off. I've seen bands make a big deal out of mistakes and, frankly, peeps, most of us won't notice unless you don't call attention to your screw-ups.
I kept thinking to myself that this little performance deserved more of an audience and perhaps a larger venue. I won't complain, though, I'm glad they stopped by and I'm hoping they'll return. Maybe one day soon, they'll have ample opportunity to show off their talent to larger crowds.
Check out their video for "Open Wide" on YouTube.
The next night, myself and a few friends ventured our way out to the National to see the legendary Morrissey.
I've said this before, but I've never been a really big fan of his or of the Smiths, the band he used to front. This only means I had no idea what to expect and that I was blown away by what I saw and heard.
The guy is pushing 50 and he ran that stage like it was his, umm ... let's just say he showed everyone who was boss. Looking like a mixture between Dr. Troy McNamara (Nip/Tuck) and Robin Williams (in looks and in stage presence, respectively) he commanded the attention of every face in the crowd.
The stage was set up so the Moz had plenty of space to stalk around, whipping the mic cord to and fro. Picture a bullfighter with his cape ... with imaginary bulls coming at him from every direction.
I recognized more songs than I'd expected to, and when that insane riff from "How Soon Is Now?" started, nearly everyone in the sold out crowd of 1,500 took to their feet.
As big a ham as Morrissey was, his band wasn't leaving without making its presence felt. Drummer Matt Walker rocked an impressive set of drums that included an 18-wheeler-tire-sized bass and even a gong. Chris Bopst said recently, "The larger the drum set, the more likely the band is going blow." Sorry, Chris, but in at least this instance, that argument fails. (read the article here)
Moz sang the line 'But then you open your eyes and you see someone that you physically despise' from "Let Me Kiss You" at the precise moment he decided to remove shirt number two of three for the evening (if the timing was unintentional I'll eat my chucks). He'd already briefly left the stage long enough to change from a blue and white checkered print into the black dress shirt he was currently removing.
When he took off said black dress shirt, it was just too much for one excited fan to handle. This super-fan squeezed his way through a team of scowling security guards and chased Morrissey off-stage, dragging annoyed staff-members along with him. In line with the theme of the night (Morrissey is touring in support of his latest album, Years of Refusal), this eager-beaver wasn't giving up without a fight.
An unphased Morrissey reappeared in less than 5; donning another button-down ... this one pink.
Everything about the show was huge: the sound, the production, the enthusiasm, the egos.
All week I'd been a little skeptical as to whether he'd even show up (many shows had been cancelled prior to this one). Luckily he didn't let us down. Maybe he showed because it was Friday the 13th, maybe not. Whatever the reason, I'm glad I was there.
Morrissey on myspace | Mia Riddle on myspace
NOTE: Christy Sheppard is an established writer with publications like Richmond.com and was kind enough to share this article with us. We look forward to many more of Christy Sheppards writing contributions. Keep watching.
***************************************
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
Richmond.com
Thursday, March 19, 2009
Scene + Heard Concert Review: Morrissey at the National and Mia Riddle at Poe's
Sometimes you look forward to a show for a long time and you end up disappointed. Sometimes you hear a band's recorded music and are bummed when you hear them live. Sometimes, though, reality exceeds your expectations.
I saw two shows last week that were excellent. I see a lot of shows. Shows about which I don't usually care enough to write.
These two shows I didn't want to let fade from my ever-waning memory without putting down in writing for all of you (and all of the world!) to see. Hey, I'm a giver.
First, I caught Mia Riddle and Her Band as they stopped through Richmond via Poe's Pub on their way to Austin's SXSW, promoting their album, Tumble and Drag.
I arrived around 8:15 (because I thought the show as supposed to start at 8) and around 10 o'clock all preparation was complete and Mia's band was ready to go.
I'd been listening to their myspace playlist for a few days prior to the event because I never like going to show completely in the blind, and Mia's band is new to me. She sounded just as great in person as she did in recording. She was pop and she was rock, and she was a little country ... a delightful mixture.
Mia's voice continually reminded me of Jenny Lewis'; a comparison most would welcome. Although she did sound a little raspy and admitted she was battling a cold, it didn't distract from her performance and her voice was strong and pleasant.
I don't know if you've ever seen a show at Poe's but the "stage" is rather small. On several occasions I felt like the band really wanted to rock out but were hindered by the size of the stage. Despite the space limitations, they made the most of the night, and our attention spans.
Everyone but Dave Wyss (bass) had a mic; geez, he must really be a bad singer, huh? I kid.
The rest of the band consisted of Amy Merrill (keys, back-up vocals), Dan Barry (guitar, back-up vocals) and Jeff Neuberger (drums, back-up vocals). Mia stuck to singing and the guitar although she also plays the glockenspiel and keys.
Amy and Mia harmonized well and sounded sweet together. At the risk of sounding creepy, Amy had these super delicate fingers that looked as if they were sculpted just for the keys or for rescuing objects that have fallen into really tight spaces (or for stealing food from the vending machine). She had a funny smirk on her face that lasted most of the set. Apparently we were all having a great time.
As a testament to their songwriting skills, I recognized "Grandchildren", "City Song" and "Open Wide" right away and (happily) was even able to sing along.
In red flats that matched Amy's keyboard, Mia stomped and played her way though the set. I'm compelled to liken her to actor-turned-singer Zooey Deschanel; but Mia has a stonger voice and she's cuter, too. Sorry, I'm only into She & Him sans the "She &" part.
This was the first stop on their tour, so naturally they had a few blips here and there but they easily laughed them off. I've seen bands make a big deal out of mistakes and, frankly, peeps, most of us won't notice unless you don't call attention to your screw-ups.
I kept thinking to myself that this little performance deserved more of an audience and perhaps a larger venue. I won't complain, though, I'm glad they stopped by and I'm hoping they'll return. Maybe one day soon, they'll have ample opportunity to show off their talent to larger crowds.
Check out their video for "Open Wide" on YouTube.
The next night, myself and a few friends ventured our way out to the National to see the legendary Morrissey.
I've said this before, but I've never been a really big fan of his or of the Smiths, the band he used to front. This only means I had no idea what to expect and that I was blown away by what I saw and heard.
The guy is pushing 50 and he ran that stage like it was his, umm ... let's just say he showed everyone who was boss. Looking like a mixture between Dr. Troy McNamara (Nip/Tuck) and Robin Williams (in looks and in stage presence, respectively) he commanded the attention of every face in the crowd.
The stage was set up so the Moz had plenty of space to stalk around, whipping the mic cord to and fro. Picture a bullfighter with his cape ... with imaginary bulls coming at him from every direction.
I recognized more songs than I'd expected to, and when that insane riff from "How Soon Is Now?" started, nearly everyone in the sold out crowd of 1,500 took to their feet.
As big a ham as Morrissey was, his band wasn't leaving without making its presence felt. Drummer Matt Walker rocked an impressive set of drums that included an 18-wheeler-tire-sized bass and even a gong. Chris Bopst said recently, "The larger the drum set, the more likely the band is going blow." Sorry, Chris, but in at least this instance, that argument fails. (read the article here)
Moz sang the line 'But then you open your eyes and you see someone that you physically despise' from "Let Me Kiss You" at the precise moment he decided to remove shirt number two of three for the evening (if the timing was unintentional I'll eat my chucks). He'd already briefly left the stage long enough to change from a blue and white checkered print into the black dress shirt he was currently removing.
When he took off said black dress shirt, it was just too much for one excited fan to handle. This super-fan squeezed his way through a team of scowling security guards and chased Morrissey off-stage, dragging annoyed staff-members along with him. In line with the theme of the night (Morrissey is touring in support of his latest album, Years of Refusal), this eager-beaver wasn't giving up without a fight.
An unphased Morrissey reappeared in less than 5; donning another button-down ... this one pink.
Everything about the show was huge: the sound, the production, the enthusiasm, the egos.
All week I'd been a little skeptical as to whether he'd even show up (many shows had been cancelled prior to this one). Luckily he didn't let us down. Maybe he showed because it was Friday the 13th, maybe not. Whatever the reason, I'm glad I was there.
Morrissey on myspace | Mia Riddle on myspace
NOTE: Christy Sheppard is an established writer with publications like Richmond.com and was kind enough to share this article with us. We look forward to many more of Christy Sheppards writing contributions. Keep watching.
***************************************
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
And Be sure to sign up for the new Sojournstar Music Network!
and if you want to make money while having fun and promoting your band, music or business, then you must
Join me at Weblo Virtual World for Fun & Profit!
Saturday, March 21, 2009
An Interview with Joe Buck
Joe Buck, or Jim to his friends, has a plan. He plans to stay pissed off and sing about it until there is no need to anymore. In a way Joe Buck is an activist, but not by protesting or props, which he finds redundant, but by translating and transferring emotion and energy to his audience. During my phone interview with him, tape recorder by the phone, praying it was working, Joe was somewhere in Florida, on tour as always. Joe Buck is a humble man who doesn’t think he is anything special. He plays for us and he will always play for us, whether it’s a crowd of 2 or 2000. Joe Buck and I found common ground on many topics and shared some personal stories that showed me the roller coaster that has been Joe Buck’s life. I am now not just a fan of Joe Buck Yourself, I’m a fan and I hope a friend of Jim.
Cindy: You just returned from Europe. How did that part of the tour go? Is playing Europe any different than playing the U.S.?
Joe Buck: Well, it was exactly the same. It was weird, it is weird. I mean this first show in Rotterdam I was singing “Evil MF from Tennessee” and I usually let the crowd say “Tennessee”, and I’m in Rotterdam and I was like, okay, and just stopped, boom, and sure enough I heard “Tennessee”!
Cindy: So your fan base is strong in Europe?
Joe Buck: Well I’m not trying to be different, it’s just the way it comes out. I mean, obviously they’re looking for something different and you know there’s not too many places for them to get something like that I guess. It was amazing. I’m going back over there in the fall for about two months.
Cindy: I’ve noticed so many bands booking Europe dates on their tour schedules. It seems like a popular thing to do, I guess it always has been.
Joe Buck: Well, I don’t book the shows, I just let people know where I am, so it’s good because I just deal with people. We’re not getting in touch with clubs, it’s not like that. I just want to go where the people want me to come. I’m just excited about having a show. The best shows are when you get your local bands together and there’s people and you have a party. I only care about the people who are there.
Cindy: We may not have had a huge crowd for you last year when you played here, but everyone was there for you. And what I thought was so special was you telling everyone to come stand by you as close as they could, and they did for the whole show, and that was a very different experience. It made me feel like I was part of your performance. It was very memorable for me.
Joe Buck: Well, I mean, it’s all about the people. I mean, I’m playing for them, you know, so yeah, the whole getting up close thing is like it takes all of us to make that show happen. The energy has to come from all of us and yeah, that’s not like most shows.
In most shows the band comes on and the people stare at them, and they go through the show, and they go off stage, you know? That’s not what I’m doing.
Cindy: You are well known in The Legendary Shack Shakers. Were there bands before that? What was the beginning for you as a performer?
Joe Buck: I’ve been in bands my whole life. There have been a zillion other bands. I had success with this band named Gringo back in the early 90’s. I mean, you know, drinkin’ and druggin’ ruined it, but I was doing shit then, in rock bands from late ’79 on and I was in all these punk bands in the beginning. I mean, I was from a farm in Missouri, so when I was a kid growing up there was Bocephus, Van Halen, The Cars, but when I left the farm it was like I immediately found punk. You know, it was like 3 years after the fact, but it was late 1979, it wasn’t 1977, but it was still new enough to where I said, okay, and played in punk bands.
When I was 21, I think I heard Hank Williams on a commercial or something and it was usually someone else doing his songs, really badly. Then I met a great friend of mine, Jerry Bender, who I owe a debt of gratitude to. He was the produce guy at the Piggly Wiggly and lived around the corner from me. I’d have my little punk rock parties and he was my neighbor, just lived right around the corner, and one day he said “your music sucks, I’m bringing my own music”. So he brought over Hank Williams 40 Greatest Hits and you know, it changed my life. Jerry Bender! And that was in the early 80’s. I still played in punk bands until 1994 just because I knew that playing country takes skill and time so I worked on it all those years, but I still played in punk bands to get by.
But my band Gringo got a bunch of great reviews. I thought I was trying to be Hank Williams. I was just so strung out and drunk that I was just kind of lost in that, but those were great records, I was in great bands, but I just ruined it, just played too hard.
Cindy: How do you describe the type of music you play and especially the way you play in your solo act?
Joe Buck: I have to play every song as hard as I can. I mean, that’s the first thing people always come up to me and hug me after a show and say “Oh my God” because I’m soaking wet. Not just a little wet, I mean like somebody just dumped a bunch of water on me. And that’s because, yeah, I play every song as hard as I can. It’s all rooted in old hillbilly music and blues. I’m not doing anything new, I mean, maybe the approach is about something different.
Cindy: Where does all the aggression come from?
Joe Buck: Because I’m pissed off, man. I’m pissed at the way people treat each other, I’m pissed at all the cold blooded greed. I’m so sick of all the bullshit in the world. There’s so much to go around, man. I’m pissed off at mass communication. I’m pissed off at Nashville, you know, as a kid growing up on a farm, instead of having somebody from my area on the radio singing to me, for me, like Hank Williams would’ve been, no, I got fu#@ing Barbara Mandrell. The worst bullshit in the world. So that music didn’t speak to me. I hated that music. I mean, openly as a kid I said I hated country music, so it made me hate where I was from. I had issues and I had to get them out.
I left Nashville and moved to Western Kentucky, just over the border. The people in Nashville were great, it’s the music industry that polluted a whole generation of good country kids. That’s why they’re listening to Fifty Cent right now. They’re adopting a culture that has nothing to do with them. You have to know where you’re from to know where you’re going.
Cindy: I heard you had a show here about a year ago with the infamous Cuz’n Wildweed and the Vapor Rhinos. Something happened at the club, Poes Pub, can you fill us in?
Joe Buck: The Vapor Rhinos had a fog machine that you could’ve put in an arena. So we saw smoke coming out of the club from our RV. Kathy and I looked and there was all this smoke billowing out from the club. You couldn’t see inside the club. The club was completely filled with smoke and it was billowing out the doors. It was like the place was burning down. So we’re running out of the RV to see what’s going on and the Vapor Rhinos were still playing on stage. You couldn’t even see them. It was the funniest thing I’ve ever seen in my life. It ran everybody out of the bar, which was even more genius. I was like, yeah, they’ll remember that show forever.
Cindy: What was it like performing with Cuz’n Wildweed?
Joe Buck: Well, I’m glad that Cuz’n Wildweed is here on this planet. What can I say, you rarely meet somebody that has a giving soul, because the majority of us are cancerous, lecherous thieves. So to find somebody like Cuz’n shows me that good people are out there and it gives me hope, otherwise I’d blow my brains out! We’re in this thing for the long haul, and that’s what we need, are people that give a shit.
I promise I will always show up to play as hard as I possibly can. I don’t care if it’s the 20th show of 20 shows in a row, you’re gonna get the same show. You have to give if you’re an artist. It’s the truest thing. And I only learned that from losing everything and being pummeled by everything. Then I realized I didn’t need anything. The only things I need are the things I can carry inside of me.
Cindy: Have there been any spiritual influences or experiences that have helped guide you to where you are now?
Joe Buck: All I need is to not feel worthless, because I was. So, by working so much and playing, those things make me feel good. If I feel something or smile or rock out, whatever it is, then I did something that made somebody feel something, so being able to give them whatever that is and by them feeling something, then I don’t feel worthless. So it’s really as simple as that.
What changed, I have no idea man. It’s like one day, I just can’t explain it. I was almost dead, so I really don’t know. It’s weird too because the dope, I’m around it all the time. It’s so funny. It’s like, here’s the funniest part about your addiction, here’s your job and you’re gonna be surrounded by it and that’s the best way to have it. Keep your enemies close, man. But I never wanted it, and it’s like I said, twenty years of full on crazy and then one day just like, I can’t explain it. I did think I had a dream kind of thing that was like, I gave up all the drugs and pills, it doesn’t matter what it is, it’s all the same thing, so it’s like, if you give up one thing, all the rest of the things that you need in your life will bear themselves.
I was like, man, I’m not stupid, this sounds like a pretty good deal. And that’s pretty much how it worked out. I don’t judge anybody by what they do or what road they’re going down. Everybody’s got to live their own life. And as awful as it was, because there is no glamour in it, you know, it’s just pathetic. I don’t look back on any of this stuff fondly, but I wouldn’t change a thing. I’m fighting fire with fire, filth with filth, decease with decease.
Cindy: You played with Hank III for years. To anyone that would seem like a perpetual party. How long did the party last before you had enough?
Joe Buck: Well I never had enough of it. That thing was a pro gig man. Yeah, we had fun but we rocked every night, I mean everybody was f@#ked up, you know, you can’t do that shit, you have to almost be an athlete. Yeah, it’s fun, but I mean….there were several things like, this thing now is steady work, and that gives me peace of mind.
Cindy: Your fans now know about the split with you and Hank III. Do you mind telling us what happened?
Joe Buck: First of all, he (Hank III) is a solo artist. I was just a side guy. I mean, he’s had a zillion guys in his band. I mean, it’s about the songs. I loved every minute of that, but I started working (solo) after we played Nashville on Thanksgiving of 2007 and when I started doing this no tours (with Hank III) were booked, so I kept working. You know, and he went on. So that’s what happened, there was no “split”. There was no big decision made, I just never heard from him. So he got another bass player and I was like, okay, I’ll keep touring.
Cindy: Are you happier as a solo artist?
Joe Buck: I’ve always written and played, besides Hank III, I always wrote and sang the songs, so I mean, because I played with him for so long, sure I miss that, but not for the reasons you think. It’s like, I miss my friend. But this thing that I’m doing, you said it, it’s really important and it’s growing like crazy, and yes, when you’re a side guy, you don’t know what’s going on, you know? This way works for me. It gives me huge peace of mind. And then, I love my girlfriend. We’re getting married as soon as I can pull off the road long enough!
Cindy: What’s next for Joe Buck? Are there any new releases we can get excited about?
Joe Buck: I’m recording and I’ll have a new release out by July. I’ll have it ready for the tour with Wayne (Hancock). Oh yeah, Wayne Hancock and Joe Buck are gonna f@#ck up the West Coast man!!!
Cindy: What more really needs to said?
Joe Buck will be playing The Triple on May 12, 2009
You can visit Joe Buck’s website: www.joebuckyourself.com
***************************************
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
Cindy: You just returned from Europe. How did that part of the tour go? Is playing Europe any different than playing the U.S.?
Joe Buck: Well, it was exactly the same. It was weird, it is weird. I mean this first show in Rotterdam I was singing “Evil MF from Tennessee” and I usually let the crowd say “Tennessee”, and I’m in Rotterdam and I was like, okay, and just stopped, boom, and sure enough I heard “Tennessee”!
Cindy: So your fan base is strong in Europe?
Joe Buck: Well I’m not trying to be different, it’s just the way it comes out. I mean, obviously they’re looking for something different and you know there’s not too many places for them to get something like that I guess. It was amazing. I’m going back over there in the fall for about two months.
Cindy: I’ve noticed so many bands booking Europe dates on their tour schedules. It seems like a popular thing to do, I guess it always has been.
Joe Buck: Well, I don’t book the shows, I just let people know where I am, so it’s good because I just deal with people. We’re not getting in touch with clubs, it’s not like that. I just want to go where the people want me to come. I’m just excited about having a show. The best shows are when you get your local bands together and there’s people and you have a party. I only care about the people who are there.
Cindy: We may not have had a huge crowd for you last year when you played here, but everyone was there for you. And what I thought was so special was you telling everyone to come stand by you as close as they could, and they did for the whole show, and that was a very different experience. It made me feel like I was part of your performance. It was very memorable for me.
Joe Buck: Well, I mean, it’s all about the people. I mean, I’m playing for them, you know, so yeah, the whole getting up close thing is like it takes all of us to make that show happen. The energy has to come from all of us and yeah, that’s not like most shows.
In most shows the band comes on and the people stare at them, and they go through the show, and they go off stage, you know? That’s not what I’m doing.
Cindy: You are well known in The Legendary Shack Shakers. Were there bands before that? What was the beginning for you as a performer?
Joe Buck: I’ve been in bands my whole life. There have been a zillion other bands. I had success with this band named Gringo back in the early 90’s. I mean, you know, drinkin’ and druggin’ ruined it, but I was doing shit then, in rock bands from late ’79 on and I was in all these punk bands in the beginning. I mean, I was from a farm in Missouri, so when I was a kid growing up there was Bocephus, Van Halen, The Cars, but when I left the farm it was like I immediately found punk. You know, it was like 3 years after the fact, but it was late 1979, it wasn’t 1977, but it was still new enough to where I said, okay, and played in punk bands.
When I was 21, I think I heard Hank Williams on a commercial or something and it was usually someone else doing his songs, really badly. Then I met a great friend of mine, Jerry Bender, who I owe a debt of gratitude to. He was the produce guy at the Piggly Wiggly and lived around the corner from me. I’d have my little punk rock parties and he was my neighbor, just lived right around the corner, and one day he said “your music sucks, I’m bringing my own music”. So he brought over Hank Williams 40 Greatest Hits and you know, it changed my life. Jerry Bender! And that was in the early 80’s. I still played in punk bands until 1994 just because I knew that playing country takes skill and time so I worked on it all those years, but I still played in punk bands to get by.
But my band Gringo got a bunch of great reviews. I thought I was trying to be Hank Williams. I was just so strung out and drunk that I was just kind of lost in that, but those were great records, I was in great bands, but I just ruined it, just played too hard.
Cindy: How do you describe the type of music you play and especially the way you play in your solo act?
Joe Buck: I have to play every song as hard as I can. I mean, that’s the first thing people always come up to me and hug me after a show and say “Oh my God” because I’m soaking wet. Not just a little wet, I mean like somebody just dumped a bunch of water on me. And that’s because, yeah, I play every song as hard as I can. It’s all rooted in old hillbilly music and blues. I’m not doing anything new, I mean, maybe the approach is about something different.
Cindy: Where does all the aggression come from?
Joe Buck: Because I’m pissed off, man. I’m pissed at the way people treat each other, I’m pissed at all the cold blooded greed. I’m so sick of all the bullshit in the world. There’s so much to go around, man. I’m pissed off at mass communication. I’m pissed off at Nashville, you know, as a kid growing up on a farm, instead of having somebody from my area on the radio singing to me, for me, like Hank Williams would’ve been, no, I got fu#@ing Barbara Mandrell. The worst bullshit in the world. So that music didn’t speak to me. I hated that music. I mean, openly as a kid I said I hated country music, so it made me hate where I was from. I had issues and I had to get them out.
I left Nashville and moved to Western Kentucky, just over the border. The people in Nashville were great, it’s the music industry that polluted a whole generation of good country kids. That’s why they’re listening to Fifty Cent right now. They’re adopting a culture that has nothing to do with them. You have to know where you’re from to know where you’re going.
Cindy: I heard you had a show here about a year ago with the infamous Cuz’n Wildweed and the Vapor Rhinos. Something happened at the club, Poes Pub, can you fill us in?
Joe Buck: The Vapor Rhinos had a fog machine that you could’ve put in an arena. So we saw smoke coming out of the club from our RV. Kathy and I looked and there was all this smoke billowing out from the club. You couldn’t see inside the club. The club was completely filled with smoke and it was billowing out the doors. It was like the place was burning down. So we’re running out of the RV to see what’s going on and the Vapor Rhinos were still playing on stage. You couldn’t even see them. It was the funniest thing I’ve ever seen in my life. It ran everybody out of the bar, which was even more genius. I was like, yeah, they’ll remember that show forever.
Cindy: What was it like performing with Cuz’n Wildweed?
Joe Buck: Well, I’m glad that Cuz’n Wildweed is here on this planet. What can I say, you rarely meet somebody that has a giving soul, because the majority of us are cancerous, lecherous thieves. So to find somebody like Cuz’n shows me that good people are out there and it gives me hope, otherwise I’d blow my brains out! We’re in this thing for the long haul, and that’s what we need, are people that give a shit.
I promise I will always show up to play as hard as I possibly can. I don’t care if it’s the 20th show of 20 shows in a row, you’re gonna get the same show. You have to give if you’re an artist. It’s the truest thing. And I only learned that from losing everything and being pummeled by everything. Then I realized I didn’t need anything. The only things I need are the things I can carry inside of me.
Cindy: Have there been any spiritual influences or experiences that have helped guide you to where you are now?
Joe Buck: All I need is to not feel worthless, because I was. So, by working so much and playing, those things make me feel good. If I feel something or smile or rock out, whatever it is, then I did something that made somebody feel something, so being able to give them whatever that is and by them feeling something, then I don’t feel worthless. So it’s really as simple as that.
What changed, I have no idea man. It’s like one day, I just can’t explain it. I was almost dead, so I really don’t know. It’s weird too because the dope, I’m around it all the time. It’s so funny. It’s like, here’s the funniest part about your addiction, here’s your job and you’re gonna be surrounded by it and that’s the best way to have it. Keep your enemies close, man. But I never wanted it, and it’s like I said, twenty years of full on crazy and then one day just like, I can’t explain it. I did think I had a dream kind of thing that was like, I gave up all the drugs and pills, it doesn’t matter what it is, it’s all the same thing, so it’s like, if you give up one thing, all the rest of the things that you need in your life will bear themselves.
I was like, man, I’m not stupid, this sounds like a pretty good deal. And that’s pretty much how it worked out. I don’t judge anybody by what they do or what road they’re going down. Everybody’s got to live their own life. And as awful as it was, because there is no glamour in it, you know, it’s just pathetic. I don’t look back on any of this stuff fondly, but I wouldn’t change a thing. I’m fighting fire with fire, filth with filth, decease with decease.
Cindy: You played with Hank III for years. To anyone that would seem like a perpetual party. How long did the party last before you had enough?
Joe Buck: Well I never had enough of it. That thing was a pro gig man. Yeah, we had fun but we rocked every night, I mean everybody was f@#ked up, you know, you can’t do that shit, you have to almost be an athlete. Yeah, it’s fun, but I mean….there were several things like, this thing now is steady work, and that gives me peace of mind.
Cindy: Your fans now know about the split with you and Hank III. Do you mind telling us what happened?
Joe Buck: First of all, he (Hank III) is a solo artist. I was just a side guy. I mean, he’s had a zillion guys in his band. I mean, it’s about the songs. I loved every minute of that, but I started working (solo) after we played Nashville on Thanksgiving of 2007 and when I started doing this no tours (with Hank III) were booked, so I kept working. You know, and he went on. So that’s what happened, there was no “split”. There was no big decision made, I just never heard from him. So he got another bass player and I was like, okay, I’ll keep touring.
Cindy: Are you happier as a solo artist?
Joe Buck: I’ve always written and played, besides Hank III, I always wrote and sang the songs, so I mean, because I played with him for so long, sure I miss that, but not for the reasons you think. It’s like, I miss my friend. But this thing that I’m doing, you said it, it’s really important and it’s growing like crazy, and yes, when you’re a side guy, you don’t know what’s going on, you know? This way works for me. It gives me huge peace of mind. And then, I love my girlfriend. We’re getting married as soon as I can pull off the road long enough!
Cindy: What’s next for Joe Buck? Are there any new releases we can get excited about?
Joe Buck: I’m recording and I’ll have a new release out by July. I’ll have it ready for the tour with Wayne (Hancock). Oh yeah, Wayne Hancock and Joe Buck are gonna f@#ck up the West Coast man!!!
Cindy: What more really needs to said?
Joe Buck will be playing The Triple on May 12, 2009
You can visit Joe Buck’s website: www.joebuckyourself.com
***************************************
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
And Be sure to sign up for the new Sojournstar Music Network!
and if you want to make money while having fun and promoting your band, music or business, then you must
Join me at Weblo Virtual World for Fun & Profit!
Eric Margan And The Red Lions
by ERIC DE FONTENAY
New York-based indie-chamber rock musicians, Eric Margan & the Red Lions, present their debut release Midnight Book (March 17, 2009/Self-Released). Drawing from years of classical training and a personal devotion to modern jazz and classic rock, the talented songwriter/multi-instrumentalist/front man, Eric Margan, makes an original and sophisticated entrance with an impressive collection of 12 incredible tracks in Midnight Book.
The debut album for 22-year-old Margan resonates as a somber, theatrical novel - complete with love, tragedy, heartbreak, and revival. Midnight Book, as the title might imply, is best experienced from "cover to cover." Midnight Book delivers stellar and distinctive compositions, augmented by ensnaring and intriguing lyrical poetry, leading the listener into an introspective musical journey.
The album opens with "An Ocean Blue", a swirling, seductive tapestry of orchestral grandeur, seemingly emerging from the darkest depths of the piano and sets the stage for a colossal, metaphor-laden song cycle. As the pages of Midnight Book turn, the love story that began so triumphantly begins to unravel in Margan's "A Speckled Mind." It is here that Margan displays the delicate touch of an impressionist painter, through the juxtaposition of orchestral strings combined with a powerful yet poignant drum and bass polyrhythm.
The album's standout "Old Man River" is the turning point in the story, full of grandiose and massively cinematic crescendo. Margan's colorful plot thickens to a soaring climax, telling a story of an estranged marriage - complete with twists, turns, murder and revenge.
Margan appropriately concludes his heavy narrative with the relatively bare instrumentation of strings, piano, voice and guitar. The last notes are imminent, chords that are prepared to leave their final impression - but not without a last fighting chance.
Born and raised in Columbia County of Upstate New York, Eric Margan's musical endeavors started at just nine years old when he began studying flute. It was when he turned 14 that the hobby had become a potential career. He began treading new waters with the formation of his first band - a three-piece rock group in which he was a co-songwriter, bassist, and singer. Margan furthered his bass skills by participating in various jazz ensembles and combos throughout his high school years. Furthering his music studies, he brought together his classical training with his passion for modern rock and live performance with the addition of the talented musicians that make up the Red Lions.
A stellar line-up of musicians was assembled to augment Margan's music on stage, including drummer Jim Bertini, bassists Scott Kellerhouse and Vince Chiarito, keyboardist Zachary Seman and guitarist/flutist/vocalist Johanna Warren. Live performances and Midnight Book also feature various string, woodwind and brass players.
Eric Margan and the Red Lions are rapidly earning the respect and admiration of fans and bands alike, from opening for such acts as the Benevento Russo Duo and L.A.-based Bittersweet, to recording sessions with Pete Seeger and Richie Havens, as well as playing a multitude of shows in the Northeastern United States.
What critics have been saying about Eric Margan and the Red Lions:
"There are a number of acts that are currently creating music right now that I would call good, but I would have to downgrade them to "passable" just so I could get the proper amount of distance to the "great" that I would assess to Eric Margan & The Red Lions. "Midnight Book" should be seen as a "must-have" album…"-NeuFutur Magazine
"Elegant, sophisticated and refreshingly open-hearted, singer-guitarist Margan pens wonderfully literate and melodically inventive songs that he has orchestrated for a most unusual but oh-so effective ensemble of musicians featuring drums, bass, keyboards, violin, cello, clarinet and flute. This is Chamber music for the 21st Century, and it simply sparkles." -Greg Haymes, The Times Union
"Eric Margan's songs and aesthetic are from another time: His musical influences seem drawn entirely from before he was born. His jazz-leaning, ornate, orchestral pop is unlike anything that's come out of the Capital Region in as long as we can remember, and the band's busy gig schedule has amassed them a devoted, even defensive, fan base. Trust us: This band will be going places." -John Brodeur, Metroland
Eric Margan and the Red Lions will begin touring this spring in support of Midnight Book. The confirmed list of shows is as follows:
February 13, The College of Saint Rose, Albany, NY February 21, (PRE-CD RELEASE SHOW) The Bowery Poetry Club, New York, NY March 5, Muddy Cup, Albany, NY March 13, (CD RELEASE SHOW) Valentines, Albany, NY March 17, Banjo Jims, New York, NY March 18-22, SXSW Music Festival, Austin, TX March 30, The Living Room, New York, NY April 3, Valentines Upstairs, Albany, NY April 4, Bard College, Annadale-on-Hudson, NY
More dates will be released at Eric Margan
Eric Margan MP3
***************************************
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
New York-based indie-chamber rock musicians, Eric Margan & the Red Lions, present their debut release Midnight Book (March 17, 2009/Self-Released). Drawing from years of classical training and a personal devotion to modern jazz and classic rock, the talented songwriter/multi-instrumentalist/front man, Eric Margan, makes an original and sophisticated entrance with an impressive collection of 12 incredible tracks in Midnight Book.
The debut album for 22-year-old Margan resonates as a somber, theatrical novel - complete with love, tragedy, heartbreak, and revival. Midnight Book, as the title might imply, is best experienced from "cover to cover." Midnight Book delivers stellar and distinctive compositions, augmented by ensnaring and intriguing lyrical poetry, leading the listener into an introspective musical journey.
The album opens with "An Ocean Blue", a swirling, seductive tapestry of orchestral grandeur, seemingly emerging from the darkest depths of the piano and sets the stage for a colossal, metaphor-laden song cycle. As the pages of Midnight Book turn, the love story that began so triumphantly begins to unravel in Margan's "A Speckled Mind." It is here that Margan displays the delicate touch of an impressionist painter, through the juxtaposition of orchestral strings combined with a powerful yet poignant drum and bass polyrhythm.
The album's standout "Old Man River" is the turning point in the story, full of grandiose and massively cinematic crescendo. Margan's colorful plot thickens to a soaring climax, telling a story of an estranged marriage - complete with twists, turns, murder and revenge.
Margan appropriately concludes his heavy narrative with the relatively bare instrumentation of strings, piano, voice and guitar. The last notes are imminent, chords that are prepared to leave their final impression - but not without a last fighting chance.
Born and raised in Columbia County of Upstate New York, Eric Margan's musical endeavors started at just nine years old when he began studying flute. It was when he turned 14 that the hobby had become a potential career. He began treading new waters with the formation of his first band - a three-piece rock group in which he was a co-songwriter, bassist, and singer. Margan furthered his bass skills by participating in various jazz ensembles and combos throughout his high school years. Furthering his music studies, he brought together his classical training with his passion for modern rock and live performance with the addition of the talented musicians that make up the Red Lions.
A stellar line-up of musicians was assembled to augment Margan's music on stage, including drummer Jim Bertini, bassists Scott Kellerhouse and Vince Chiarito, keyboardist Zachary Seman and guitarist/flutist/vocalist Johanna Warren. Live performances and Midnight Book also feature various string, woodwind and brass players.
Eric Margan and the Red Lions are rapidly earning the respect and admiration of fans and bands alike, from opening for such acts as the Benevento Russo Duo and L.A.-based Bittersweet, to recording sessions with Pete Seeger and Richie Havens, as well as playing a multitude of shows in the Northeastern United States.
What critics have been saying about Eric Margan and the Red Lions:
"There are a number of acts that are currently creating music right now that I would call good, but I would have to downgrade them to "passable" just so I could get the proper amount of distance to the "great" that I would assess to Eric Margan & The Red Lions. "Midnight Book" should be seen as a "must-have" album…"-NeuFutur Magazine
"Elegant, sophisticated and refreshingly open-hearted, singer-guitarist Margan pens wonderfully literate and melodically inventive songs that he has orchestrated for a most unusual but oh-so effective ensemble of musicians featuring drums, bass, keyboards, violin, cello, clarinet and flute. This is Chamber music for the 21st Century, and it simply sparkles." -Greg Haymes, The Times Union
"Eric Margan's songs and aesthetic are from another time: His musical influences seem drawn entirely from before he was born. His jazz-leaning, ornate, orchestral pop is unlike anything that's come out of the Capital Region in as long as we can remember, and the band's busy gig schedule has amassed them a devoted, even defensive, fan base. Trust us: This band will be going places." -John Brodeur, Metroland
Eric Margan and the Red Lions will begin touring this spring in support of Midnight Book. The confirmed list of shows is as follows:
February 13, The College of Saint Rose, Albany, NY February 21, (PRE-CD RELEASE SHOW) The Bowery Poetry Club, New York, NY March 5, Muddy Cup, Albany, NY March 13, (CD RELEASE SHOW) Valentines, Albany, NY March 17, Banjo Jims, New York, NY March 18-22, SXSW Music Festival, Austin, TX March 30, The Living Room, New York, NY April 3, Valentines Upstairs, Albany, NY April 4, Bard College, Annadale-on-Hudson, NY
More dates will be released at Eric Margan
Eric Margan MP3
***************************************
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
And Be sure to sign up for the new Sojournstar Music Network!
and if you want to make money while having fun and promoting your band, music or business, then you must
Join me at Weblo Virtual World for Fun & Profit!
Monday, March 9, 2009
GORGEOUS & UNKNOWN HINSON
GORGEOUS & UNKNOWN HINSON @ CANAL CLUB
It had been many years since I had been to the Canal Club and I decided to attend a show I wasn’t familiar with but I thought the subject matter would be interesting to review. At the time the only act I knew was performing that night was Unknown Hinson. I had never had the pleasure of attending any of Mr. Hinson’s shows, but many of my friends never miss him when he is in town so I decided to find out what all the fuss was about. Much to my surprise, when I walked in the door I heard familiar music and saw familiar faces on the stage during sound check. “Unknown” to me, my friends Gorgeous were opening for Unknown Hinson and suddenly the overpriced $16.50 tickets weren’t so offensive.
Gorgeous, former members of Chrome Daddy Disco, has always been in my opinion the best rockabilly/psychobilly band in Richmond, or anywhere for that matter. I have been going to their shows for well over ten years and still can’t sit still when I hear them play. Sean McClain is in my opinion the best front man on a stage. If you are looking for entertainment, look no further. Sean delivers his cocky one liners and rants along with the most passionate covers, “King Creole”, “Muleskinner Blues”, and the best of the best, “Viva Las Vegas”, plus original songs like “Bloody Valentine”, that cannot be duplicated. Many bands have tried but failed. This band is the real deal down to Jim’s pink paisley James Burton style guitar, to the solid bass and drums that pull everything together and creates the “Sonic Sound” that is the infectious Gorgeous groove. Gorgeous doesn’t play out very often, so seeing them was a real treat and I’m always looking forward to their next show. Thanks guys for giving Elvistra another chance to shake, rattle and roll!
Band Members for Gorgeous:
Sean McClain: vocals, ranting
Jim Wark: Guitar
Greg Wetherford: Drums
Kyle Christian: Bass
The main act, Unknown Hinson, the King of the Country Western Troubadours from Charlotte, NC was not the honky tonk guitar picker I assumed he was. His music is described as country/western/metal/psychobilly/cow punk. What I heard was a very talented blues oriented guitar player with quirky original songs like “Lingerie”, BarbieQ”, and “Alkyhol Withdrawl” which gives him his unique persona, and incredible covers by Hendrix and even Alice Cooper., which won me over immediately.
Unknown Hinson is not just a weird guy with a scary face, although I still can’t figure out how none of his makeup melted during the show. The man barely broke a sweat, very cool indeed. The crowd loved him and it was clear Unknown Hinson has a strong fan base in Richmond, and now I understand why. After the show Mr. Hinson greeted his fans, signed autographs and took pictures with them. He clearly appreciates his followers and treats them well.
In conclusion, the night was filled with the “Unknown”, but it was a top notch show that should’ve had a much bigger crowd to bear witness.
Be sure to check out Unknown Hinson’s CD “Target Practice”
Band website: Unknown Hinson
Band Members for Unknown Hinson:
Unknown Hinson: vocals, guitar
Roger “Tiny” Kohrs: Bass
Frank “The Tank” Sorrell: Percussion
***************************************
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
It had been many years since I had been to the Canal Club and I decided to attend a show I wasn’t familiar with but I thought the subject matter would be interesting to review. At the time the only act I knew was performing that night was Unknown Hinson. I had never had the pleasure of attending any of Mr. Hinson’s shows, but many of my friends never miss him when he is in town so I decided to find out what all the fuss was about. Much to my surprise, when I walked in the door I heard familiar music and saw familiar faces on the stage during sound check. “Unknown” to me, my friends Gorgeous were opening for Unknown Hinson and suddenly the overpriced $16.50 tickets weren’t so offensive.
Gorgeous, former members of Chrome Daddy Disco, has always been in my opinion the best rockabilly/psychobilly band in Richmond, or anywhere for that matter. I have been going to their shows for well over ten years and still can’t sit still when I hear them play. Sean McClain is in my opinion the best front man on a stage. If you are looking for entertainment, look no further. Sean delivers his cocky one liners and rants along with the most passionate covers, “King Creole”, “Muleskinner Blues”, and the best of the best, “Viva Las Vegas”, plus original songs like “Bloody Valentine”, that cannot be duplicated. Many bands have tried but failed. This band is the real deal down to Jim’s pink paisley James Burton style guitar, to the solid bass and drums that pull everything together and creates the “Sonic Sound” that is the infectious Gorgeous groove. Gorgeous doesn’t play out very often, so seeing them was a real treat and I’m always looking forward to their next show. Thanks guys for giving Elvistra another chance to shake, rattle and roll!
Band Members for Gorgeous:
Sean McClain: vocals, ranting
Jim Wark: Guitar
Greg Wetherford: Drums
Kyle Christian: Bass
The main act, Unknown Hinson, the King of the Country Western Troubadours from Charlotte, NC was not the honky tonk guitar picker I assumed he was. His music is described as country/western/metal/psychobilly/cow punk. What I heard was a very talented blues oriented guitar player with quirky original songs like “Lingerie”, BarbieQ”, and “Alkyhol Withdrawl” which gives him his unique persona, and incredible covers by Hendrix and even Alice Cooper., which won me over immediately.
Unknown Hinson is not just a weird guy with a scary face, although I still can’t figure out how none of his makeup melted during the show. The man barely broke a sweat, very cool indeed. The crowd loved him and it was clear Unknown Hinson has a strong fan base in Richmond, and now I understand why. After the show Mr. Hinson greeted his fans, signed autographs and took pictures with them. He clearly appreciates his followers and treats them well.
In conclusion, the night was filled with the “Unknown”, but it was a top notch show that should’ve had a much bigger crowd to bear witness.
Be sure to check out Unknown Hinson’s CD “Target Practice”
Band website: Unknown Hinson
Band Members for Unknown Hinson:
Unknown Hinson: vocals, guitar
Roger “Tiny” Kohrs: Bass
Frank “The Tank” Sorrell: Percussion
***************************************
If your on the East Coast, be sure to sign up for
MusicRVA Social Network!
And Be sure to sign up for the new Sojournstar Music Network!
and if you want to make money while having fun and promoting your band, music or business, then you must
Join me at Weblo Virtual World for Fun & Profit!
Subscribe to:
Posts (Atom)