4.03.2004
throwback session
I can either blame my lack of posts in the last week to a. my rather crippled home computer and uncooperative modem; or b. sheer laziness. I'd like to have b. take the blame. After all, I am full of good Catholic immigrant guilt. I simply screwed off too much this week as far as writing goes. I actually whipped up a post yesterday, but never got around to uploading the text to blogger.com. The interface it presents, due to the age of my browser (I think it's IE 5.0), makes quick uploads a bitch. I'd like to think that livejournal.com might be easier, but until I upgrade my little home E-machine, changes and edits are going to be horribly slow. I'd like to whip up my own blog, a la Robert Duffy's donewaiting.com. When I get a chance, I'd like to pick his brain about the subject. I need something quick and simple that'll look good on everyone's computers, with the ability to post pics and music files if I so desire.
The post I'd concocted yesterday was for a Mike Uva and Hook Boy show at the Beachland last night. The difference between this and any of our usual club gigs was that we set up on the floor of the ballroom, rented the services of our friend Chris Solt and his portable sound system, set up chairs and tables cafe-style, and invited Mike and Jason (Hook Boy drummer)'s friends Zapruder Point and Jeff London to play. Zapruder Point features a certain Dan Phillips, who in the 90s was the lead vocalist for alterna-rock champs Rotary Ten, which upon relocation to Chapel Hill, NC, turned into Boy Wonder Jinx. Dan and his pals were always great at taking the best of R.E.M.'s emotional moments (dare I call it 'emo', a term unheard of in Cleveland back then) and neatly popping them into stirring pop anthems. As I said to Mike Uva, "Dan's got a voice that could stop a dozen emo bands dead in their tracks". It's true. Dan's yearning and passionate without getting maudlin or weepy. And his songs, composed on a guitar with perhaps three strings, were just as good as anything he ever did in Rotary Ten. Why three strings? Well, I suppose it's easier for rhythm playing, especially if one isn't a flash guitarist. Futhermore, Rotary Ten had a most curious lineup: drums, vox, organ, and an electric bass--furiously strummed like a big four-stringed guitar. The guitar wasn't missed in that band; Scott (Dan's brother) rocked the hell out of the top end with Farfisa-ish sounds, and bassist Greg kept chords humming underneath with vigorous consistency. So Dan's use of three strings (or maybe four--I couldn't tell) served to recall his old band. Furthermore, he did in fact through in a Rotary Ten cut, which brought Mike and I back to our days of seeing CLE shows in our early 20s. Very nice, Dan. Thanks.
I must say that Hook Boy played one of its best sets to date. Our casualness on stage has sometimes been the kiss of death. This time, the banter was fine and the timing between songs actually worked. Nothing seemed too rushed or too lazy--though I will admit that some of our pop numbers clipped along at a quicker pace than usual. I can only wonder how those sounded in the cavernous Ballroom. On my end, I could hear everything except Mike's rhythm guitar (which is usually pretty low in the mix anyway. Christ, it's not like we're a rock band). His voice cut through nicely; Chris is solid as always, Dave delivered the goods on lead guitar; Jason sounded great on the tubs and me, well, considering I was half in the bag at the time, I think I rendered my services in adequate fashion. I had just enough wine to really zone in on the changes (Which I have on a music stand in front of me. The sheets are more of a security blanket than anything)else) and used my little bit of drunkeness to lock in with Jason's kick drum. I hope that didn't make it sound too regimented. However, Jason tends to swing whatever he plays, so I'm sure it sounded fine. According to Mike, Hook Boy is slated to play the infamous academic hippie love-in known as the Hessler Street Fair (more details later). I'd like to record the band in its present state at some point, too. After that, I don't know. It's a pretty laid-back combo, and since we're all busy with our own lives, jobs, and musical projects, it's hard for me to project when the next Hook Boy occasion will take place.
Speaking of nostalgia trips (like referring to Rotary Ten two paragraphs ago), Jason Conrad Schafer and I took it upon ourselves to see 90s underground instrumental legends Don Caballero. I simply couldn't sit all night at the Beachland (even though Pearlene was playing, and as far as blues power trios go, they do at times smoke the house), and Jason didn't really feel like sitting around reading about the Vietnam War in his drafty apartment. So we braved the dismal rain and made the short jaunt to Akron's Lime Spider to see Damon Che (Don Cab drummer) and whoever he'd roped into the current lineup of the band.
Jason and I were profoundly influenced in our youth by bands of the Dischord/post-hardcore ilk as well as the slew of proudly ugly and confrontational bands circa 1995-1999. Mind you, I came in on the tail end of that movement as I drank many a beer at the old Euclid Tavern. Jason caught all of it while living in his native town of Cincinnati at the renowned Sudsy Malone's. In my own look back, I recall having my mind constantly blown to bits by bands like Tar, the Jesus Lizard (who I never actually saw at the Euc, but they were definitely part of that movement) utterly incredible Cleveland bands like Craw and the DuValby Brothers, and Don Caballero. I think back and believe that the contemporary of Don Cab are bands like Lightning Bolt and Federation X. Messy, violent, aggressive, demanding, yet within those strands lay elements of "art" and "fun". Art because it was fresh, challenging, and seemed to have sprung from the head of Zeus seemingly out of nowhere. Fun because sometimes getting hammered and making a loud-ass racket is a good way to get the ya-yas out. Let's say for now that this element of fun is what truly makes rock ROCK. We can get back to that one later, kids.
Don Cab had very little of that. Perhaps the "art" had cancelled out the "fun", and what should be a dizzying, thrilling ride into musical fogeyness. Certain members of the band weren't into the set--maybe weren't even into the band, from the looks of it. The compositions were turgid. And with few exceptions--certain parts of their set and both "encore" songs--it didn't really pulse with excitement and danger. For instance, right now I"m listening to Keith Moon during the tail end of "Won't Get Fooled Again", right before the synth breakdown and Daltrey's piercing scream. Every time I hear this part, when everyone except Daltrey is duking it out for audio supremacy and the whole song threatens to collapse as it hurdles toward the end, I'm thrilled to bits. At one point, very long ago, I saw Don Cab and had that very same experience. On this night, it was nothing but what I call 'stunt-rock': tricks of trade, on display, like a magician pulling eggs out of ears over and over. I gotta give Don Cab credit, though. Damon Che has somehow found a way to make his music appealing to a much younger set. I saw kids who might be getting off on the Liars or Oneida or Lightning Bolt or who the hell ever totally digging the music. So I say, hoorah for Don Caballero. Jason and I were appreciative of their efforts, yet ultimately underwhelmed.
I know that tonight Cobra Verde heads out to Pittsburgh for the 31st Street Pub's anniverary show. We were supposed to play with the Cynics, garage-rock champs from that part of the world. Unfortunately they had to cancel. So we'll be sharing the bill with the Break-Up Society and the Black Tie Revue. We haven't practiced, so I suspect that this gig will be a nice warm-up before our two IL shows and our Midwest tour with Local H.
Upon returning to Cleveland, I have a Sunday rehearsal with the New Lou Reeds, featuring "junior" member Ben from the Davenport Records Family. We've gotta bone up on tunes for the upcoming Fall show on the 21st of April. I'll be on tour with CV. However, Ben will be nimbly keeping by bass seat warm for me.
The post I'd concocted yesterday was for a Mike Uva and Hook Boy show at the Beachland last night. The difference between this and any of our usual club gigs was that we set up on the floor of the ballroom, rented the services of our friend Chris Solt and his portable sound system, set up chairs and tables cafe-style, and invited Mike and Jason (Hook Boy drummer)'s friends Zapruder Point and Jeff London to play. Zapruder Point features a certain Dan Phillips, who in the 90s was the lead vocalist for alterna-rock champs Rotary Ten, which upon relocation to Chapel Hill, NC, turned into Boy Wonder Jinx. Dan and his pals were always great at taking the best of R.E.M.'s emotional moments (dare I call it 'emo', a term unheard of in Cleveland back then) and neatly popping them into stirring pop anthems. As I said to Mike Uva, "Dan's got a voice that could stop a dozen emo bands dead in their tracks". It's true. Dan's yearning and passionate without getting maudlin or weepy. And his songs, composed on a guitar with perhaps three strings, were just as good as anything he ever did in Rotary Ten. Why three strings? Well, I suppose it's easier for rhythm playing, especially if one isn't a flash guitarist. Futhermore, Rotary Ten had a most curious lineup: drums, vox, organ, and an electric bass--furiously strummed like a big four-stringed guitar. The guitar wasn't missed in that band; Scott (Dan's brother) rocked the hell out of the top end with Farfisa-ish sounds, and bassist Greg kept chords humming underneath with vigorous consistency. So Dan's use of three strings (or maybe four--I couldn't tell) served to recall his old band. Furthermore, he did in fact through in a Rotary Ten cut, which brought Mike and I back to our days of seeing CLE shows in our early 20s. Very nice, Dan. Thanks.
I must say that Hook Boy played one of its best sets to date. Our casualness on stage has sometimes been the kiss of death. This time, the banter was fine and the timing between songs actually worked. Nothing seemed too rushed or too lazy--though I will admit that some of our pop numbers clipped along at a quicker pace than usual. I can only wonder how those sounded in the cavernous Ballroom. On my end, I could hear everything except Mike's rhythm guitar (which is usually pretty low in the mix anyway. Christ, it's not like we're a rock band). His voice cut through nicely; Chris is solid as always, Dave delivered the goods on lead guitar; Jason sounded great on the tubs and me, well, considering I was half in the bag at the time, I think I rendered my services in adequate fashion. I had just enough wine to really zone in on the changes (Which I have on a music stand in front of me. The sheets are more of a security blanket than anything)else) and used my little bit of drunkeness to lock in with Jason's kick drum. I hope that didn't make it sound too regimented. However, Jason tends to swing whatever he plays, so I'm sure it sounded fine. According to Mike, Hook Boy is slated to play the infamous academic hippie love-in known as the Hessler Street Fair (more details later). I'd like to record the band in its present state at some point, too. After that, I don't know. It's a pretty laid-back combo, and since we're all busy with our own lives, jobs, and musical projects, it's hard for me to project when the next Hook Boy occasion will take place.
Speaking of nostalgia trips (like referring to Rotary Ten two paragraphs ago), Jason Conrad Schafer and I took it upon ourselves to see 90s underground instrumental legends Don Caballero. I simply couldn't sit all night at the Beachland (even though Pearlene was playing, and as far as blues power trios go, they do at times smoke the house), and Jason didn't really feel like sitting around reading about the Vietnam War in his drafty apartment. So we braved the dismal rain and made the short jaunt to Akron's Lime Spider to see Damon Che (Don Cab drummer) and whoever he'd roped into the current lineup of the band.
Jason and I were profoundly influenced in our youth by bands of the Dischord/post-hardcore ilk as well as the slew of proudly ugly and confrontational bands circa 1995-1999. Mind you, I came in on the tail end of that movement as I drank many a beer at the old Euclid Tavern. Jason caught all of it while living in his native town of Cincinnati at the renowned Sudsy Malone's. In my own look back, I recall having my mind constantly blown to bits by bands like Tar, the Jesus Lizard (who I never actually saw at the Euc, but they were definitely part of that movement) utterly incredible Cleveland bands like Craw and the DuValby Brothers, and Don Caballero. I think back and believe that the contemporary of Don Cab are bands like Lightning Bolt and Federation X. Messy, violent, aggressive, demanding, yet within those strands lay elements of "art" and "fun". Art because it was fresh, challenging, and seemed to have sprung from the head of Zeus seemingly out of nowhere. Fun because sometimes getting hammered and making a loud-ass racket is a good way to get the ya-yas out. Let's say for now that this element of fun is what truly makes rock ROCK. We can get back to that one later, kids.
Don Cab had very little of that. Perhaps the "art" had cancelled out the "fun", and what should be a dizzying, thrilling ride into musical fogeyness. Certain members of the band weren't into the set--maybe weren't even into the band, from the looks of it. The compositions were turgid. And with few exceptions--certain parts of their set and both "encore" songs--it didn't really pulse with excitement and danger. For instance, right now I"m listening to Keith Moon during the tail end of "Won't Get Fooled Again", right before the synth breakdown and Daltrey's piercing scream. Every time I hear this part, when everyone except Daltrey is duking it out for audio supremacy and the whole song threatens to collapse as it hurdles toward the end, I'm thrilled to bits. At one point, very long ago, I saw Don Cab and had that very same experience. On this night, it was nothing but what I call 'stunt-rock': tricks of trade, on display, like a magician pulling eggs out of ears over and over. I gotta give Don Cab credit, though. Damon Che has somehow found a way to make his music appealing to a much younger set. I saw kids who might be getting off on the Liars or Oneida or Lightning Bolt or who the hell ever totally digging the music. So I say, hoorah for Don Caballero. Jason and I were appreciative of their efforts, yet ultimately underwhelmed.
I know that tonight Cobra Verde heads out to Pittsburgh for the 31st Street Pub's anniverary show. We were supposed to play with the Cynics, garage-rock champs from that part of the world. Unfortunately they had to cancel. So we'll be sharing the bill with the Break-Up Society and the Black Tie Revue. We haven't practiced, so I suspect that this gig will be a nice warm-up before our two IL shows and our Midwest tour with Local H.
Upon returning to Cleveland, I have a Sunday rehearsal with the New Lou Reeds, featuring "junior" member Ben from the Davenport Records Family. We've gotta bone up on tunes for the upcoming Fall show on the 21st of April. I'll be on tour with CV. However, Ben will be nimbly keeping by bass seat warm for me.
4.01.2004
this friday
at the beachland ballroom
at the beachland ballroom
mike uva and hook boy
wistful, tuneful, and always tasteful. always a gentleman's
band.
featuring members of machine go boom, the dreadful yawns,
new planet trampoline, and cobra verde.
zapruder point
featuring dan philips from CLE legends rotary ten/boy
wonder jinx,
which might be extra special for those of you who remember
Cleveland back in the early 90s.
jeff london
singer-songwriter from brooklyn, NY. he's gonna give
it his best shot.
9 PM, $6. Cheap.
Sat 4/3/04 Pittsburgh PA
Local
Thank you for your support!
We're rollin' up our
sleeves, pressing the flesh, kissing the babies, and hitting the
ever-lovin' campaign trail.
Hoist a beer as we hoist our gear into the van and tear sleeplessly
through the midwest and
east coast, chain-smoking, eating sugary snack foods, telling bad jokes
and furiously rocking out
at these fine venues:
31st
Street Pub Anniversary Show
with the Cynics
H Dates
Fri 4/9/04 Chicago IL the
Metro
Sat 4/10/04 Dekalb IL Otto's
Thu 4/15/04 Detroit MI The
Shelter
Fri 4/16/04 Cleveland OH
Peabody’s
Sat 4/17/04 Reading
PA Soundwaves
Mon 4/19/04 Boston MA Paradise
Rock Club
Tue 4/20/04 Burlington VT
Club
Metronome
Thu 4/22/04 Philadelphia
PA Khyber Pass
Fri 4/23/04 New York NY
Tribeca
Rock Club
Sat 4/24/04 Washington DC
Black
Cat
