When The Afghan Whigs announced late last year they would be reuniting for a pair of appearances at All Tomorrow’s Parties in London and New Jersey (since grown to a full blown European tour of summer festivals and clubs), music critics and fans rejoiced.
For years, interviewers probed lead singer Greg Dulli about the possibility while he promoted his successful projects The Twilight Singers and The Gutter Twins. The answer, when it would come, was usually a firm "No" — everything that needed to be said with the Whigs had been said. Disappointed fans had reason to mourn — in the ’80s/’90s, Whigs' live shows were legendary for their one-two punch of cathartic anthems and ass-shaking grooves, with the alpha male voodoo cast by Dulli.
Unlike scores of other bands who get back together for all the wrong reasons — an embarrassing reality television moment or ill-conceived package tour (“Grunge on Ice!”) — The Whigs embraced this reunion on their own terms. It's been well covered in the press that all parties involved in the Whigs' camp said that the time was just right for this rendezvous. No hatchets to bury, no compromises to make and no million dollar title sponsorship necessary — the schedules just worked out and, by all accounts, everyone was in the right place, personally, emotionally, professionally.
That wasn’t the case in 2001 though, when the group cited physical distance as a prime reason behind their curtain call as a band. Two newish tracks momentarily reunited the band in 2006 for a career spanning retrospective, but no decision to re-group was made until bassist John Curley and guitarist Rick McCollum quietly got together with Dulli in New Orleans late last fall to test the waters. Obviously, they were pleased with what they heard.
Flash forward to this past week, halfway into their first live show in over a decade at the Bowery Ballroom in New York. Any concern that Dulli considered the band's reunion shows as some sort of middle-aged victory lap was put to rest as he traded quips with a heckler who apparently hadn’t got the memo about Dulli's legendary run-ins, on and off the stage with audience members who couldn’t resist being a part of the show.
Without dropping a beat, Dulli offered the fellow a cautionary warning before returning to the music at hand: “You know, I will fuck you up.”
Your attention please, indeed.
The Whigs still take their music seriously. In the month leading up to the somewhat surprise of a show at the Ballroom in New York this past week, the Whigs holed up in Cincinnati at Curley’s Ultrasuede Studio to give their entire catalog a work out. But hometown anonymity gave way when the band arrived in NYC to a New York Times proclamation that their sold out show in the Lower East Side was the “most sought after ticket in the Northeast.” Fitting perhaps as well that the Whigs first show back would take place in the city where they played their final show in 1999 (unbeknownst to anyone).
That Tuesday, the Whigs' fired their own opening salvo with their first television appearance in over a decade on Late Night with Jimmy Fallon. It takes balls to play your first live gig in 13 years on TV in front of millions of viewers — not to mention performing a relatively obscure R&B tune (“See and Don’t See” by Marie “Queenie” Lyons) instead of one of your hits. Business as usual for the uncompromising Whigs.
Since Uptown Avondale's track by track Soul homage, the Whigs have been notorious for unearthing and reinventing old school R&B tracks. This time around, the Whig’s recorded a fragile interpretation of Lyons’ song, which was released online the week before. The tune got the Whigs' Chamber Rock treatment on Fallon with a string section and The Roots' ?uestlove joining in on drums while a nattily attired Dulli coolly plead his case. Later, after Fallon signed off air, the band recorded a bonus track for the show’s website, ripping through a caustic, muscular version of “I’m Her Slave.” Hopefully viewers at home didn’t miss the moment immediately after the song where Dulli and the usually reserved Curley quickly traded wide, shit-eating grins, obviously pleased with what the band just dropped on millions of viewers, many of whom had probably never had the opportunity to see the Whigs on their first go around.
If the Fallon appearance was the peek behind the curtain, the sold-out show at the Bowery Ballroom the next night was the full on Angelina-leg-bearing reveal. The band wasted no time, dipping heavily into Gentleman and Black Love, including a reprisal of “I’m Her Slave” and a dizzying “Conjure Me” from Congregation. The Whigs also visited a few tracks from their final full-length, 1965, before adding a couple of covers — the Lyons' track from Fallon and a spooky, piano-driven take on Frank Ocean’s “Lovecrimes.”
Presumably left for later in the tour was anything from the band's Sub Pop debut, Up In It. The band did, however, go six tracks deep from their noir epic, Black Love, including show opener "Crime Scene Part I" and the set-ending epic trio of “Bulletproof,” “Summer’s Kiss” and perennial show closer “Faded,” with the little coda from Purple Rain tagged on for good measure. But it was the reintroduction of the title track from Gentleman that brought the house down.The song had seemingly been shelved for live sets post-Black Love, it's rumored because of the heavy-hearted toll delivering the scathing lover’s reproach night after night took on its author. Whatever the reason, Dulli was back on better terms with his signature song, playfully pointing fingers and shaking his ass while the rest of the Whigs powered through the song’s metallic groove.
The reconvened Whigs are more light and nimble on their feet than the expansive 1965 final tour that saw the group supported by a cadre of excellent back-up singers and support musicians each night. This time around the trio is augmented by long time Dulli sideman, guitarist David Rosser, multi-instrumentalist Rick Nelson and drummer Cully Symington. Even without all the extra hands on deck, the resulting sound still allows for moments of fragile beauty amongst the riffs thanks to Nelson’s cello and piano playing.
It’s worth noting that Dulli apparently gave up smokes over a year ago and his voice might be exhibit A for you kids contemplating taking a puff for the first time. He’s refined his aching falsetto and added some harmonic high notes to his trademark whisper-to-a-scream howl that showed no signs of letting down during the near two-hour show. Dulli acknowledged his new smoke-free existence, referencing the now legendary mid-show light ups where he would hold forth on baseball, shitty cover bands or how your girlfriend was flirting with him the entire show while the band would play bemusedly (or not) on. During his heckler beat-down at the Bowery, he even worked in a belated apology to mates Curley and McCollum for their patience during his soliloquies all those years — then accepted a goodwill drag off an audience member’s joint.
Unlike a lot of bands who play Reunion Roulette and lose, if national reviews of the show are any indication, this year’s model of the Whigs arguably sounds better than they did during the ’90s when they first broke on the international scene with their addictive mash up of Midwestern Punk, Rock and Soul.
Dulli said it best after a punkish wind-sprint through 1965’s "Uptown Again," when he offered a heartfelt thanks to the crowd for coming, adding, “It feels like we never left."
Full setlist from the Whigs' Facebook page:
Anton Newcombe is one of the rare people about whom an old maxim is absolutely true — if he didn’t exist, someone would have to invent him.
Newcombe is a musical shaman, an acid casualty, a shrewd media manipulator and a conductor of immeasurable skill, a sonic conjurer who fearlessly channels eras, styles and influences with the scientific magic of an alchemist. Under the rotating auspices of the Brian Jonestown Massacre, Newcombe has dabbled in Psychedelia, acid washed Blues, Garage Rock, fuzzy Shoegaze and various permutations thereof, all with an increasing fascination in widening his focus to cinemascopic proportions.
The last BJM album, 2010’s Who Killed Sgt. Pepper?, added elements of Trance and Techno to the repertoire, but Newcombe’s latest set, Aufheben (an excellent title to highlight Newcombe's creative schizophrenia; in its German translation, the word can mean, depending on context, to either abolish or preserve), largely abandons that contemporary device for a return to his most potent reference points, namely the mid- to late ’60s, when The Rolling Stones experimented on ephemera like “2000 Light Years from Home,” The Doors reimagined Rock with “The End,” Folk ingested mushrooms and harpsichords and sitars roamed the earth.
Newcombe and this year’s BJM model are particularly focused on the middle Eastern bong hits of “Panic in Babylon,” the swirling Psych lollipop of “I Want to Hold Your Other Hand” and the love-and-Haight echo jam of “The Clouds Are Lies.” Newcombe and BJM offer a slight return to the present with the album’s atmospheric closer, the seven minute Psych-meets-Chamber-Dance-Pop smoke ring of “Blue Order/New Monday,” but for the majority of Aufheben, the trip, aurally and physically, is most definitely the thing.
It’s never easy for a band to follow up a hugely successful album, but The Cribs had a doubly tough task after the overwhelming response to 2009’s Ignore the Ignorant, which was the group’s first Top 10 U.K. hit, outselling 11 of the 13 Beatles reissues that were released the same week. At least part of Ignorant’s success was attributable to the presence of former Smiths guitarist Johnny Marr, who joined the Cribs after a chance 2008 meeting with bassist Gary Jarman. Marr’s departure in 2011 returned the Cribs to its original band-of-Jarman-brothers lineup for its fifth album, In the Belly of the Brazen Bull.
In many ways, Brazen Bull hearkens back to the Cribs’ early energy while tapping into the creative evolution that’s been percolating within the trio/quartet over the past decade. The Cribs’ raw conviction is all over the Nirvana-channels-the-Pixies-like ring-and-roar of the album’s first single, “Come On, Be a No-One,” two-and-a-half minutes of barely constrained Punk howl, an ethic that resurfaces on “Anna” and “Chi-Town.” At the same time, the newly reinstated trio displays plenty of Pop maturity on gems like “Jaded Youth” and “Confident Men,” where the Jarmans’ love of all things Cobain is leavened with a healthy respect for The Beatles’ melodic gifts.
The Cribs effectively demonstrate that the ultimate commercial success of In the Belly of the Brazen Bull isn’t nearly as important as the brothers’ ability to translate all of their influences without the taint of compromise.
Loudon Wainwright III could very easily have slid into the where-are-they-now realm of celebrity obscurity if he had allowed himself to be swallowed up by the one-hit wonderment of “Dead Skunk” in 1972. Although most people at the time only knew him for that ubiquitous single, Wainwright was confident that he had plenty of other weapons in his songwriting arsenal and set about to define the 40-year Folk/Pop career that has brought him certain measures of acclaim, wealth and notoriety as a songwriter, performer, actor and dysfunctional family man, each role woven inextricably into the fabric of the others (remember when he was Captain Spalding, the singing surgeon on M*A*S*H?). Clearly, the two paths that have intersected most often in Wainwright’s life are music and family; his itinerant singer/songwriter’s existence has been both a positive and a negative in his numerous attempts at familial stability and his parents, wives and children have been an endless source of grist for his songwriting mill.
Chief among Wainwright’s influences has been his often larger-than-life father, whose death at 63 left a gaping hole in his 17-year-old son’s life and psyche. A great deal of Wainwright’s unresolved love and anger issues concerning his father have been worked out in his songs over the past few decades, but his latest uniformly excellent album finds him looking back at his long timeline after reaching the milestone birthday of 65, a momentous and bittersweet benchmark that inspired the album’s title; Older Than My Old Man Now.
Like much of his recent work, Wainwright explores the familiar subjects of family, aging, death and lust on Old Man, which he does with typical candor, humor and reflection. Wainwright opens with the jazzy “The Here & the Now,” an annotated but honest account of his 65 years (“I took a wife, we had some kids/I screwed that up and went on the skids”), a history that he continues tracing on the contemplative and mournful “In C.” In the eloquent spoken word intro to the title track, Wainwright calls his father his “principal ghost” and then launches into a Delta-flavored vamp that addresses the psychic conundrum of having more calendars under his belt than his dad (“Sixty four is awful old, you know what can happen next/Hey, I’m older than my old man ever was, and I’m trying to keep it in context”).
Wainwright’s broad range is best typified by the ridiculously funny “I Remember Sex,” a parlor piano duet with Barry Humphries’ female alter ego Dame Edna Everidge, and the sublimely heartbreaking realizations of “The Days That We Die,” where Wainwright expounds, in prose and rhyme, on the reality of getting closer to life’s finish line without having fully reconciled with his children for his real and imagined sins. Listening to Wainwright and son Rufus trade soul-searching verses about life and change and forgiveness will bring a tear to the most cynical eye.
Over the course of the past few albums, Wainwright has honed his songwriting style to a fine point and narrowed his focus to very personal issues which he has translated into impossibly universal songs. Older Than My Old Man Now finds him in peak form in that regard, and reinforces the idea that he’s probably got plenty more to say on every subject as his finite journey heads inexorably toward the infinite horizon.
Since her 1994 indie debut, The Honesty Room, Dar Williams has attracted a diverse and pathologically loyal fan base with her quirkily hybridized Folk/Pop ministrations. Like an elegant gene splice of Shawn Colvin and Loudon Wainwright III, Williams can easily triangulate the emotional distance between breezy humor, somber reflection and crystalline heartbreak, on subjects as intimate as family and love and as broad as culture and politics, by finding the commonalities between them and translating them through her muse. Equally relevant is the fact that Williams hasn’t shied away from experimenting with her base formula over the past two decades; her desire to extend her reach is a testament to her restless creative spirit and her success in doing just that is a testament to her steadfast audience.
In the Time of Gods is Williams’ ninth studio album and, like the majority of her catalog, it is a work that somehow manages to be both spectacular and subtle. In keeping with her need to experiment, Williams conceived In the Time of Gods as a concept album with each song representing a particular Greek mythological archetype, while also weaving contemporary emotional, social and cultural concerns into the narrative. It’s an unlikely formula, and one that requires an almost impossible songwriting balance, but Williams was clearly up to the task, because In the Time of Gods stands with the best of her albums to date.
Part of its brilliance is that Williams uses the Greek pantheon as a launch point to create her own dieties and address her unique issues, proving that mythology must be both consistent to be permanent and malleable to be relevent. The element that drives all of this home is Williams’ impeccable songwriting skill as she finds the connective tissue between gods and goddesses like Hera (“I Am the One Who Will Remember Everything”), Hermes (“You Will Ride with Me Tonight”), Dionysus (“I Will Free Myself”) and Poseidon (“The Light and the Sea”) and places their gifted and flawed archetypes in real life situations with real life outcomes.
As always, Williams’ musical accompaniment in this endeavor is engaging and beautiful and exactly right, providing the consistency that runs through her estimable canon. With a surgeon’s skill, Dar Williams has grafted the wisdom, wonder and humanity of Greece’s ancient pantheon onto In the Time of Gods’ modern cautionary tales, further evidence of the contention that Williams is among the finest Folk/Pop songwriters of the last half century.
April 29 - Super 8 Motel, Wytheville, Va.
Wytheville — pronounced "whiteville," I believe — sits at the cross of I-77 and I-81. Looking down I-81, I used to see Bristol, Tenn., and think of that time in 1927 when The Cater Family and Jimmie Rodgers separately met a rep from the Victor Talking Machine Company and recorded a couple of songs. They got paid about $100. Lot's changed since then, though the pay's about the same. These days when I look down towards Bristol I see a redneck deputy hauling a longed haired songwriter off to jail for the crime of relieving himself behind a bush. In 1981, that cost $25. There use to be a great BBQ joint in Wytheville. It's gone. too. They had the best fried chicken and blackberry cobbler.
I guess everyone wore themselves out Saturday as no one stayed up past midnight to talk or jam or whatever. On Sunday morning, with a solid six hours of sleep, I was up and drenched in coffee by 8 a.m. I packed up camp and planned what was left of my MerleFest weekend. I like to get going, so it was an easy morning and I headed out to the Traditional Tent for some Shape Note Singing with Laura Boosinger.
I misidentified this a few days ago as Sacred Heart singing. The idea is the same — using shapes for notes instead of notes on a musical staff. Sacred Heart uses four notes. Shape Note uses seven. The workshop I attended was about those seven notes and how to sing them. It's pretty straight forward — anyone who's ever seen The Sound of Music and sang "Do Re Mi" will get the idea. "Do Re Mi Fa So La Ti" — each note has a particular shape attached to it and you sing that note when you see that shape. Laura talks about the history of Congregational singing, why they use shapes (people actually patented musical notation at one time) and how Sacred Heart differs from Shaped Note contextually, historically and regionally. Pretty cool stuff, even if the Traditional Tent smells like a barn and is now filled with flies. Laura is also really funny, cracking denominational jokes that the churchgoers find hilarious. I don't get them.
My interest in Sacred Heart/Shaped Note singing came when I wandered into a church one Sunday morning 30 or so years ago. I was wandering around northern Alabama on a motorcycle making my way to the Natchez Trace and then south to New Orleans when I stopped for a breather and cool air beneath a tree. I heard the singing as soon as my head stopped rattling. I slipped inside the outer part of a church and heard the most glorious harmonies — not sweet or beautiful, but primitive and inspiring.
In Shape Note, everyone is singing to the pitch the lead singer has identified. There is no piano, no organ, no hip dude playing guitar, only imperfect humans looking for the most comfortable place for their voice to sing. Your split into four groups depending on your vocal range — altos (includes sopranos), tenors, bass (includes baritones) and leads (anyone who can't but follow the melody regardless of range). I go to the bass group. Each group has a different part to sing — the altos, basses and tenors all singing a harmony part and the leads singing the melody. When it all comes together it unifies the same way most old time music does. It's wondrous and miraculous; if there is a place where God exists, it is inside the dissonance that has congealed into a thing so coherent and beautiful that any existence of God outside of it becomes marginal and meaningless.
I leave the Traditional Tent invigorated and inspired and head back to camp to pack the van. Everything packed and lunch consumed, I head back to the Traditional Tent for one last show before heading home — "Women Singing Traditional Music." On stage are women ages 20 -70, including hosts Carol Rifkin and Gaye Johnson, Brooke Buckner, Laura Boosinger, Joan Wernick, Tara Nevins (Donna the Buffalo), Kim McWhirter and Gailanne Amundsen (Jubal's Kin). All give outstanding performances, but Kim McWhirter brings the house down with a moving version of the Dolly Parton song "Crippled Bird" (which in turn is based on an English Broadside) sung in a sweet mountain lilt and strummed sparingly on guitar.
A wonderful to finish to a great MerleFest.
MerleFest is so much more then one guy can write about, no matter how much he tries. I like what I like — new bands and rediscovering old favorites. In addition to what I see and hear, there are workshops on everything from clawhammer banjo to dulcimer playing, a kids stage and activities, open mics, sitting and picking, indoor concerts, food, vendors galore. It is amazing how much music and activity the organizers pack into one day (and then clean it all up and do it again).
A lot of people stream in mid-afternoon for the nighttime concert. As mentioned, these always feature name acts. I am most fortunate to be able to tag along with my sister, help her in her booth and receive onsite camping privileges in exchange. By 8 p.m., I'm pretty exhausted and looking forward to reading under the remaining light and then laying back and hearing what's on the main stage.
This year they had some good acts. Thursday night the very humble and talented (and maybe the last real Country act standing in Nashville) Vince Gill had a fine set. Saturday I was fortunate to hear Derek Trucks take Sam Bush and his band to school on how to play melodious improvisation on the Clapton tune "Bell Bottom Blues." Derek Trucks is the living heir on slide guitar to the dead-to-early Duane Allman and he has unquestionably extended that legacy way past a wink and a nod and into something quite imaginative and bold. His wife Susan Tedeschi joined them on The Rolling Stones' "Gimme Shelter" and hit all the backing vocal parts with soul.
Later that night, Trucks and Tedeschi helped Los Lobos to new heights on a cover of the Grateful Dead's "Bertha." They sounded like they were having a blast, and my noisy camp neighbors confirmed as much the next morning as they were on stage watching the whole thing go down. Unfortunately, I slept through most of Los Lobos set and the Tedeschi/Trucks set Saturday night, though I caught the first few songs, and they sounded quite excellent. Good sleeping music — that's a compliment!
Saturday, Apr 28: Jubal's Kin Festival Grounds
Saturday at MerleFest broke hard and cold. Our camping neighbors had an impromptu jam session at 3 a.m., which is to be expected when camping at a music festival geared towards people who not only love to watch and listen, but also play. It would have been one thing to hear the soft strains of a string jam or the gentle harmony of "Wildwood Flower," but some dude shouting the lyrics to "Whipping Post" over badly tuned guitars played really hard … not the thing mountain dreams are made from.
So I sat, at sun up, reading and drinking coffee, plotting revenge and the instead of taking my revenge, made the accused coffee, read some more and generally moved real slow. Crustymarhsmellowman. I did get to play a couple tunes with Pete McWhirter as he moved past to grab some coffee on his way to open his booth.
Then I moved real slow some more.
Really real slow.
After lunch, I decided to make an attempt to see some music.
I had already missed Jim Lauderdale at the Creekside Stage. To bad, I like some Jim Lauderdale and it would have been a nice wake up, but there you are. I saw on the schedule Jubal's Kin at the Dance Tent, looked at the clock and … damn missed that, too. But what ho! There they are on the schedule at the Americana Tent immediately following their Dance Tent set. It's a MerleFest miracle! I grabbed my camera and another cup of coffee and headed out.
Jubal's Kin, all nerves and bad house sound on Day 1, was all smooth and in good voice on Day 3. They filed the promise I thought I saw at the Cabin Stage on what always seems like an eternity ago and delivered a set full of vigor, with pristine sound delivered by the sound person. Their originals are fresh with sparse instrumentation and the kind of tight harmonies that only siblings can deliver. Never lyrically embarrassing with overplayed earnestness or too casual observation, they meld in with beautifully arranged and originally considered traditional tunes. There's "The Cuckoo," that ancient English broadside, rendered as if Billie Holiday had spent some time in the Eastern Kentucky mountains. "Buffalo Gal" was reconsidered as a pop tune with a well delivered encouragement to jump in on the chorus and sing along. Gaelanne's fiddle playing is absolutely gorgeous in a John Hartford/Matt Comb's kind of way, though leaning a bit heavier on the front of the beat as opposed to sitting in the pocket. And her banjo playing is just delicious. They added one more member for this set — "Uncle Joe" on pedal steel and fiddle. With "Baby Brother" on bass, Jubal's Kin appears to be a family band.
Satisfied my instincts were intact, I left the Americana Stage to catch some other music. I wondered into the Traditional Tent to catch some of mountain legend Red June. He was explaining to the audience what a jam session was. Have I mentioned the Traditional Tent smells like a barn? I don't think it's intentional, but the wet grass combined with an enclosed space has rendered an unfavorable impression. After the lesson on what a "jam" is, Red invited a local banjo player up to do a fiddle tune with the fiddle player who didn't bring a fiddle, but did bring a mandolin. Not to fear! You can play fiddle tunes on mandolin (or piano for that matter), so he requested the newest banjo player and the fiddle player with the mandolin decide on a tune they both knew and then play it. Five minutes of discussion and tuning followed. As I headed out of the tent I thought "Just like a jam session," and went down to the Creekside Cabin to catch the rest of the Snyder Family Band and the following act, Sierra Hull and Highway 111.
The Snyder Family Band is a family Bluegrass band (no irony at MerleFest!). Like all Bluegrass bands they have a banjo, sing harmonies and play Bluegrass. Of course they play it really well. People love them. Standing ovation.
I waited around for Sierra Hull and Highway 111 to take the stage. Sierra Hull, 5-foot-nothing and former wiz kid master of the mandolin is now a promising songwriter and ingenue. I'm familiar with this script and am bored not two minutes into the first song. Sigh. I stop in the field in front of the Watson Stage to hear some of "Assembly of Dust." Young Nashville Country script. Know it. Boring. Moving on.
It's coming up on 3 p.m. and time to give my sister a break in her booth in the Heritage Tent. Nancy Roberson is a weaver based out of Knoxville, Tenn. She's been showing, selling and demonstrating at MerleFest for about as long as there has been a MerleFest. She heads out for her afternoon nap (apparently a hardwired Roberson DNA trait) and I pleasantly meet the mass of retail customers streaming by and wondering into her booth.
Nancy makes shawls. Well kind of. Not only does she design each warp for the loom, but on these particular pieces of clothing, she has design the shawl itself. It's twisted, sewn up the back, and pulled over your head like a loose fitting sweater. The front gathers in soft bunches and hangs across the chest. The ladies love them. Woven of soft cotton and rayon with the occasional silk woven in for effect, the main color of each shawl is broken up with a rhythm of competing and sometimes complimentary colors. People can't help but be drawn in by the colors and when the reach out and touch them, you always get an "Oooooo, these feel so nice and are so beautiful." If you don't, it's a replicant — ready your phasers.
When Nancy returned, I checked the schedule and cheese whiz on a cracker if Jubal's Kin wasn't playing in the barn-like Traditional Tent. Finally a chance to catch this band in more intimate surroundings, smell be damned. I headed over, got there early and claimed a seat near the front. In short order the band was on stage, laughing and calling out songs. They moved though a load of traditional tunes, all rendered in a sweet, imaginative way, like "Dinah Blow Your Horn," with added lyrics and a new verse melody. The Carter Family's "No Depression" was delivered in soul rendering pain. About midway through the set, a guitar string broke enabling some spontaneous double fiddle and dancing. While the guitar player stepped off stage, "Uncle Joe" and Gaelanne tuned their fiddles and discussed which tune to play. In a matter of thirty seconds (this is no a jam session) launched into a Skillet Lickers number my dad probably danced to when he was their age. A friend jumped up on stage and launched into some spirited clogging. Not to be undone, "Baby Brother" put his bass down, peeled off his shoes and joined the Appalachian chorus line at the end of the stage with some well executed Buck Dancing.
Yes sir, these kids from Florida are the real shit. I've spent decades in front of poseurs, wannabees, shitty players and hopefuls. Using a foundation of traditional music obviously passed along from a family that loves this stuff at an early age, Jubal's Kin are making something very real, unique and personal that compels you to be a part.
This is why I come to MerleFest. Thanks, guys, for inviting me in.
Exhausted from a night of no sleep and a day of wandering and finding Jubal's Kin, I headed back to my book and coffee and called it a day.
After the tumultuous revolution of The White Stripes, the twisted Pop/Rock convention of The Raconteurs and the Blues/Indie Rock gene splice of Dead Weather, there was nothing left for Jack White to do but to hang his own name on the marquee and go the solo route. There is an argument to be made that every White project is an extension of his musical persona regardless of the personnel he surrounds himself with or what he calls it; even the album's he produces bear his distinctive mark. At the same time, it’s also true White uses his shifting musical guises to offer a prismatic glimpse into the unique facets of his creative psyche, each one cut from the same bolt of cloth but patterned into something subtly but noticeably different.
White’s debut solo album, Blunderbuss, follows that logic line in much the same way. He explores and expands upon many of the genre variations that have defined his catalog to date in the service of imploding love songs that, at least on the surface, would seem to point toward his recent divorce as inspiration. In fact, the lack of actual drama surrounding that event indicates that White has written a song cycle about theoretical bad love rather than using pages out of his tear-stained journal for his muse.
Musically, Blunderbuss is a mixed bag of White’s best tricks; the Who-like guitar blast of “Sixteen Saltines,” the Prince-channels-the-Stooges Soul squall of “Freedom at 21” and the bluesy sugar swing of “I’m Shakin’.” But White also pushes his work down some interesting new paths as well, from the Americanapolitan Soul of “Love Interruption" (where White and singer Ruby Amanfu duet in a manner befitting Robert Plant and Alison Krauss) and the purer Country sway of the effecting title track to the Ray Davies-tinged dancehall Pop of “Hip (Eponymous) Poor Boy” and the loungey piano Pop of “Hypocritical Kiss.”
Blunderbuss is another prime example of Jack White’s impeccable track record as one of Indie Rock’s most reliable chameleons.
(Edited to correct White's duet partner on "Love Interruption")
Friday Evening, Apr 27: MerleFest Festival Grounds
After lunch, I was ready for something a little more upbeat, so I headed back to the Americana stage to check out The Lost Bayou Ramblers. I caught these guys last year at the same stage, and they brought the place down. I suppose most Cajun and Zydeco is infectious — that constant backbeat and sing-songy lilt of the melodies, but done well, it can be a bit mind blowing.
The Lost Bayou Ramblers hail from Lafayette, La. and their Zydeco is the real deal. Not quite as hard hitting as The Bluerunners, they still bring an enormous drum sound to an already rhythm-heavy beat. Fiddle, accordion, electric guitar, double bass, acoustic guitar and drums — the fiddle, accordion and electric guitar feed a triple-stack tone attack to every melody. It's like Lynyrd Skynyrd ca. 1975 without the volume, hair or rednecks. It's really something to behold and listen to. The fiddler sings and works the crowd in both French and English, the bass player holds his big acoustic bass like he's ready to swing it over his head, while the electric guitar player stands at the front of the stage arena rock style and the acoustic player runs back and forth behind everyone. These guys are regulars at the Blue Moon Saloon in Lafayette and I suspect a trip to catch them in such intimate surroundings would be life changing. Check YouTube for some of their videos.
I left the Americana stage a bit exhausted and headed over to see what was going on in the Traditional Tent and found Phil and Gaye Johnson in the middle of their set. Long time radio host of various roots music programs, Phil and Gaye do tight harmonies and Roots-based acoustic music. Easy to listen to, they move from original to traditional and without a little bit of knowledge of traditional music, it would be easy to confuse what's original and what's not. Phil's a fantastic acoustic and dobro guitar player moving easily between slide, flatpicking, various forms of fingerpicking and sometimes both. The music is not something I generally sit and listen to, but like everything you see at MerleFest, the playing is top notch and professionally presented.
I slipped out of the tent and as I walked past the picking area, I could here the strains of Peter Rowan and the Free Mexican Airforce moving though the air. Like a lot of kids brought up in the 1970s, Peter was my first real introduction to Bluegrass music though the Old and In The Way LP. My dad had a few Bill Monroe LPs, but my mom wouldn't let him play that "hillbilly" music while she was around, which was pretty much all the time.
I wasn't planning on heading back to the Watson Stage, but I was intrigued. As I got closer, Peter was doing an slow acoustic version of "Panama Red." Frankly, I thought he was mailing it in, but I was still pretty far from the stage, so I kept moving in. By the time I got close enough to the stage to take pictures, which is basically standing in the front in everyone's way, he easy doing a song called "The Raven" and it was mesmerizing. It's probably Bluegrass heresy, but off all the Bluegrass I've heard over the last 35 years, his is the tenor I associate with "that sound" and, man, he's still got it. It rises and floats and breaks in all the right places.
I took some pictures and grabbed a seat near the back of the reserved section where the sound would be optimal. His band was outstanding. Peter on acoustic joined by a electric guitar player playing shimmering notes, a lap steel player doing pedal licks and swells, acoustic bass and drums. The lap steel player was especially amazing. Every swell and fill felt like a feather in my heart. They launched into a 20 minute version of the Rowan classic "Land of the Navajo" and by the time he started doing the falsetto calls, I was awash in transcendent tears. Peter Rowan has still got it all and I'm a big baby.
Next up I headed up to the Heritage Tent to converse with another of my favorite MerleFest craft exhibitors, bowl maker Larry Kearson of Marion, NC. And not just bowls, but dough bowls. As a boy growing up in NJ, we always had a wooden bowl mounted up on the wall. Occasionally my dad would take it down to kneed some bread dough in. I never thought much about it till I started making bread in earnest in my 20's. Then I wanted it. Desperately. It was a large bowl, about 18"-by-12" and had been hand carved from a piece of black walnut from the family farm in Tennessee. I finally claimed it 10 years ago or so and now it's a regular kitchen tool in our kitchen. Larry hand carves dough bowls from single pieces of wood. Some small and decorative other huge and highly desirable. The Zeke Bowl is one such bough bowl. About two feet long and 18-inches across, it was carved from a single piece of maple from Larry's neighbor's tree. His neighbor's dog, Zeke, laid by the downed tree for days and then growled and whined the day the tree was cut up — Zeke's Bowl. It's a beauty. Dough bowls shouldn't be stained or varnished, and Larry's aren't. You need a dough bowl carved the old way, hit Larry up.
From the Heritage Tent I headed over to the Dance Tent to check out Asheville's contribution to Hot Club-style Jazz — Viper's Dream. I guess I'm spoiled by Cincinnati's Faux Frenchman, Viper's Dream didn't quite cut it. Yes, you got to be one hell of a musician to pull off Django tunes, but the sound was shrill and I wasn't digging the fiddle player. Paul Patterson of the Faux Frenchmen is without doubt a Cincinnati treasure.
I quickly jumped to the Traditional stage to see Wayne Henderson. With him was a fiddle, frailing banjo and acoustic bass players. Wayne has done three tours with the "Masters of the Six String Guitar" as well as received a National Heritage Award for his instrument building prowess. Wayne is one hell of a fingerpicker, easily one of the best living and funny as hell to boot. Very humble and unassuming. The quartet ran through some Carter Family songs, traditional mountain ballads and fiddle tunes, each played with great dexterity and devotion. What a thrill.
Following dinner, I headed up to the Hillside Stage for a set from Donna The Buffalo. A MerleFest favorite, this band has seemingly been on the road for twenty years. I'm a bit baffled how I've never seen them before. Another one of those alternativecountryrootsrockamericana band with some serious jam band leanings, Donna the Buffalo has been a perennial favorite on the tour and festival circuit. They have a loyal following among MerleFest attendees and the tie dye and swirling dancers were out in force tonight. They played a crowd pleasing set, leaving their fans wanting more. Not much more then you can ask for then that.
When Maps & Atlases dropped Perch Patchwork, their 2010 debut full-length and first album for Barsuk Records, the Chicago-based quartet was just beginning to explore the intersection of their adoration of Post-Punk Math heroes like Don Caballero and their father-tilted love of ’70s Prog avatars like Jethro Tull and Mahavishnu Orchestra. M&A’s introductory EPs — 2006’s Tree, Swallows, Houses and 2008’s You and Me and the Mountain — found the band pursuing a more Folk-tinged flavor, but Perch Patchwork was an expansive yet subtle attempt to utilize the totality of the band’s creative building blocks. That exploration paid huge dividends as critics and fans alike were drawn to M&A’s lo-fi sonic constructions and hi-fi orchestral ambitions.
Maps & Atlases’ sophomore full length, Beware and Be Grateful, expands and refines the musical trail blazed on Perch Patchwork. In the album’s formative stages, the band employed a collection of secondhand battery-powered keyboards to blueprint their textural arrangements and, although the keyboard sounds were largely excised for the final recording, they were vitally important in forcing M&A to rethink their creative process.
As a result, Beware and Be Grateful doesn’t stray impossibly far from Perch Patchwork but it definitely advances the band’s flag a little further up the hill, exhibiting a forceful Math Pop sound that shimmers and shakes with an exuberant authority. The album’s opening track, “Old & Gray,” begins like Talking Heads tributing Paul Simon’s Graceland and finishes like Brian Eno producing Spoon. Similarly unexpected juxtapositions crash and meld into one another throughout the duration of Beware and Be Grateful.
Tribal choral melodies float above while the band skips and skates around a soundtrack that is equal measures of quirky Indie Rock (“Vampires”) and blippy Electro Pop (“Silver Self”). There are still plenty of remnants of the band’s organic approach to song construction but there are also many more examples of Maps & Atlases pushing themselves to think well beyond the natural box they fashioned on their earlier releases, blending their influences and experiences and evolving in fascinating new directions.
(Maps & Atlases perform July 15 at the inaugural Bunbury Music Festival along Cincinnati's riverfront.)