Music

Deadly Duo Rocking the Hub

2009-07-02T18:00:47+00:00

Red Jumpsuit Apparatus and Hollywood Undead will appear together Tuesday, July 7, 2009 at The Venue in Fargo. The tour has RJA supporting their second studio release, “Lonely Road,” and HU supporting their first major label release, “Swan Song.” I had a chance to catch up with RJA’s lead singer, Ronnie Winter, and J Dog from HU, to discuss what is happening with their bands and what Fargo can expect from the show.
RED JUMPSUIT APPARATUS: OLD SCHOOL ROCK AND ROLL
High Plains Reader: So Ronnie, what’s new with RJA?
Ronnie Winter: Our new album, “Lonely Road,” came out in February and we’ve been touring nonstop since December, almost six months straight. We went everywhere; all over the east coast, the Philippines, Japan, Singapore, Australia, and back to the U.S. again. Now, for the first time since the album came out we’re heading out west.

I’d like to say we’re pretty big internationally; I wouldn’t say that we’re bigger but some people might say that. It’s hard to tell because there’s just so many American rock ‘n’ roll bands that do well overseas, so it’s not just us. In the Philippines we were playing to 12,000 to 15,000 people a night, it was crazy. It’s one of those things where it’s such an awesome country and they just appreciate any band who gets over there and wants to put a show on. International tours are different. You don’t get to see those people all the time, so when you do go they’re really into it.
HPR: I noticed this tour is about hitting smaller venues. How does that work compared to those big international shows you were just talking about?
RW: We actually prefer smaller clubs. We’ve always been known for doing that. We’d rather play smaller rooms and sell out an entire tour than jump into a big situation and who knows what can happen. Not only is there more risk involved but there’s a lot less of what we like to call just “rock ‘n’ roll.” We don’t bring a lot of smoke and mirrors with our show. Instead, we like to get real close and play as loud as we can. Kind of “old school,” you know what I mean? So, our preference is definitely small clubs. It’s where we grew up. In our home town the biggest club that was out here fit 700 people, so it’s just what we’re used to.
HPR: Can you share a little musical and personal history of RJA?
RW: Like any other real band that wasn’t put together by a label we’ve had quite a few members. But Duke [Kitchens — lead guitar] and I started the band and our first drummer and first bass player quit before our very first show ever, so we never even played a show with the original line up. We knew then that people are going to come and go. I’m actually glad, and I don’t regret one day of it. I’m glad that we didn’t settle for one lineup that we weren’t necessarily happy with. Instead, we changed some people around and that’s just how it is. When Duke and I started this thing, we had actually had high school music theory together and we definitely had a vision from a long time ago. We knew you’re either with it or you’re not with it.
As far as our musical history, one of the coolest things about our band is we do not all listen to the same music, not even close. Our bass player, Joey [Westwood], he’s probably got the craziest taste. He’s into Sinatra, Dean Martin and just lounge singer old school stuff. I’m kind of into 70s and 80s rockers. I love Van Halen, Boston, Pink Floyd (Dark Side of the Moon is still my favorite album) and Peter Gabriel. Duke, he’s really into underground stuff and he’s the guy that anytime before a new act blows up and gets popular Duke’s had the album for months.
HPR: How do you describe your music?
RW: If you really listen to any of our albums, the one thing we have done consistently from the beginning is that we do not rewrite the same songs. We’ve always been open about that with our fans and sometimes that’s worked out for us and sometimes it hasn’t. Either way, it doesn’t really matter because that’s what we decided to do a long time ago and we’re sticking to our guns.

As far as how I would describe it, I’m in the band and it’s hard for me to describe! We try as hard as we can to not fit into a genre. You can compare our first single “Face Down” off of our first major release to our first single, “You Better Pray,” on “Lonely Road,” they don’t sound the same whatsoever. This is the point of what we’re going for. We’re a rock ‘n’ roll band. We don’t just play one style of rock. We don’t only play punk, we don’t only play alternative, we don’t only play metal, we don’t only play acoustic folk, we don’t only play pop. We play all of it every album, and we’re five guys with five totally different tastes and nobody’s going to walk in there and tell everybody else “you have to play this this way.” When you have five different ideas shooting in for one album it ends up basically us being honest with our fans; this is what the five of us were able to agree on and yeah, it’s a little crazy but hey, makes for an interesting ride!
HPR: How has RJA changed and evolved?
RW: Even our critics will agree that we got older, plain and simple. As you get older, your priorities change and your life changes. I’m married now and Joey has a child. We aren’t 19 year old kids. When we first released our album a lot of people thought we were 17 or 18. They thought we were another Paramour type band in the age level but we’re not. We’ve never been that young; I didn’t even get signed until I was 22.

We’ve always been a mid-20’s rock band, we just look young. We’re actually not compared to quite a bit of the younger bands out there. Instead, we’re five or six years older than most of them and we grew not only as friends but as musicians.
HPR: What can fans expect from a RJA show?
RW: For us, we just like to keep it as intimate as possible. I encourage every single person in the crowd to sing along and dance and clap and have a good time. It’s very much reminiscent of kind of the mid-90s punk movement where if you weren’t yelling at the top of your lungs to every lyric then you were a poser. Believe it or not that’s how it is at a RJA show; we’re not one of those bands that expects you to stand there and clap at the end. If you do that we’re going to get in your face and we’re going to make sure that you participate. Just don’t expect to be standing still because if you are we will single you out!
HOLLYWOOD UNDEAD: THIS AIN’T NO SWAN SONG
HPR: Tell me about the band. You’re still relatively new, only one album out. What should we know about HU?
JD: We’re just looking for a good time. We’ve all been together since we were kids, and we wanted to try something new because we were sick of playing house parties. We did our first song four years ago, and we put it on the Internet because that was like the only outlet we had, and it did a lot better than we expected it to do.

We’re all in LA (that’s where we’re from), and we all went to school together, and half of us even went to preschool together. Our parents know each other, and we’ve all literally known each other since we were kids. That’s why we’ve been in so many bands together since we were 16.
HPR: Did you expect HU to make it this far?
JD: We wanted to! In our old bands we played the Whiskey, the Roy, everywhere on the Sunset Strip just hoping to get signed. If you’re in a band, hopefully that’s what you want… we did that forever, and it obviously didn’t work, so when this finally happened we were stoked.
HPR: The Internet really worked in HU’s favor; YouTube, MySpace, etc. Do you think this is the wave of the future for new bands to break out?
JD: It’s really bizarre. I mean, from any band’s perspective you have to do the conventional thing, tour and do all that sort of stuff. But when it comes down to it, the Internet is both good and bad for bands. Good for new bands because they can get their music out there without having a record label and without going out and touring because they don’t have the money to do it.

But then it’s bad because it kills their album sales and they don’t make as much money. It’s a double edged sword. It’s also good because you can reach the fans you never would have before… we can go out and play in England to 300 kids who know all the words, and we’ve never been there before. Ten years ago that was unheard of; it never would have happened.
HPR: What is Fargo going to see at a HU show?
JD: That Funnyman is really heavy when he jumps in the crowd… and our normal show is like people don’t expect what they see. They think a bunch of guys are going to come out with an iPod and microphones and do their thing, but we have a drummer, we have guitar, keyboard, bass, a full-on live band that’s playing songs. People kind of go wow because it’s a full-on rock show with full production and they were expecting a DJ… and then Funnyman takes his shirt off and dances like a wild man…
HPR: Tell me about Swan Song [name of HU’s first major label album released in 2008];
JD: It was meant to be ironic because of all the shit we’ve dealt with. Our band was so all over the place that I thought it was going to be over before it even started. We signed this deal, which kind of got shelved and then our album wasn’t coming out. None of us knew what was going on, so we were like this could end at any second. This could be our last album even though it’s our first… there’s a whole analogy behind it.
HPR: What’s next for HU?
JD: Honestly, I just wish I could get laid. You think about it, and it should be a little bit easier. I get more girls at home than I do on the road. I don’t understand how that works. At home you’re just a civilian and no one gives a shit about your band. On the road girls throw themselves at you, but I just can’t get a piece of ass for the life of me.
HPR: I’ll make sure to get that printed…
JD: Yeah, say this guy is horny and he’s looking for some action…

Deadly Duo Rocking the Hub

2009-07-02T07:57:52+00:00

The Ladies of 10k

2009-07-02T07:23:25+00:00

With around 100 artists playing this years 10,000 Lakes Festival, the first thing you may notice — well, if you’re like me and read way more into things than needed — is the minimal amount of female artists performing.

It’s really not that surprising that there’s a tilt in the line-up, as male artists in popular music have always been more abundant, but compared to other festivals like Bonnaroo and Coachella it’s even more obvious. Why there are so few in the jam scene is hard to say, luckily the three main female artists at this year’s festival are quite good.

At first it seems unfortunate that all three artists are playing Saturday, but they’re scattered throughout the day, so you can catch all three and still have time to scamper over and catch DMB — if that’s your thing.

Kathleen Edwards

Singer-songwriter Kathleen Edwards will be the first to perform on Saturday. One of the more undervalued female songwriters working today, Kathleen has gone mostly unnoticed in the States, but is very well established in Canada and has received numerous Juno nominations.

Kathleen’s debut, “Failer,” was released in 2003 and is one of the most confident debuts in recent memory. Vocally, she’s a dead-ringer for Lucinda Williams and lyrically similar to Neko Case, although on songs like “Westby,” she gives Liz Phair a run for her money on blush factor: “You begged me to stay and sing you a song / I dance dirty for you cause it turns you on / and I’m a little bleeder with white pants on.”

Her most recent release, “Asking for the Flowers,” was released in 2008 and is maybe her finest to date. After recording her previous two discs with her touring band, Kathleen employed respected session musicians like Benmont Tench and Greg Leisz.

http://www.kathleenedwards.com

7/25 Barn Stage 4 p.m.

Paper Bird

The second act, and the one you’re most likely do develop a crush on, is one of Denver’s hottest acts, Paper Bird. Not to be confused with the Paper Bird from Austria, this sextet is comprised of Sarah Anderson, vocals/trumpet; sisters Esme and Genny Patterson, vocals, Paul DeHaven, guitar; Caleb Summeril, banjo; Tyler Archuletta, trombone; and Macon Terry, upright bass.

Paper Bird’s fine debut, “Anything Nameless and Joymaking,” was released in 2007. Blending old-time bluegrass and folk with female harmonies, the album is full of songs that would fit well on either the soundtracks of “Weeds” or “O Brother, Where Art Thou.”

And not only do they look like wild hippies, they also practice what they preach as one of the more eco-friendly bands out there: They’ll be making their way across the US in their veggie-fueled bus Schoolie and making pit stops at restaurants to refuel.

http://www.paperbirdband.com

7/25 Saloon Stage 7:30pm

Sharon Jones and the Dap-Kings

Last is Brooklyn-based soul singer Sharon Jones and her band the Dap-Kings. With the re-emergence of soul, or at least wanna-be soul, Sharon seems to be the most authentic. Not to take anything away from Amy Winehouse, Duffy, Joss Stone and the rest of that lot, but they’re mostly just competent singers that are heavily helped by professional songwriters, musicians and producers.

Starting as a session singer in the 70s, she also worked as a corrections officer at a prison as well as an armored car guard before getting her big break in the mid-90s. In 2002 she released her first disc, “Dap Dippin’ with Sharon Jones and the Dap-Kings” and followed it up with 2005’s wonderful “Naturally.” Their most recent release, “100 Days, 100 Nights,” is another solid release and received tons of critical acclaim in 2007.

While Sharon’s names run first, the Dap-Kings are not to be taken lightly. Among the best musicians in the game, the Dap-Kings and have worked with producer Mark Ronson on various projects, most famously as Amy Winehouse’s band on her album “Back to Black,” including her hit single “Rehab.”

http://www.daptonerecords.com/sharonjonesandthedapkings.html

7/25 Field Stage 11:30pm

Junior Brown: An Uncommon Guitarist

2009-07-02T07:19:16+00:00

Junior Brown, a country icon, may not be the first act you’d think of to play at a highly touted jam event — the 10,000 Lakes Festival in Detroit Lakes MN later this month — but, Junior Brown will most definitely be someone these music fans will want to hear.

Brown is the second country act to stride across a 10KLF stage. Shooter Jennings, son of the late country icon Waylon Jennings, put his swagger into some very hip country/rock at the Soo Pass Ranch in 2006 and even was the cause of a wild call for a rock-off by the White Iron Band (which said Minnesotans should have been happy Shooter wasn’t there to witness or those bad boys might have gotten more than their guitars whipped!). But Shooter has always walked the edge between country and rock, wailing out lyrics about cocaine and women that many a country performer would shy away from.

Junior Brown, however, has a handle on pure country, particularly classic country styles of the 50s and 60s. If you listen closely to the few vocals he does, you’ll hear a very definite Ernest Tubb quality, captured in tone and phrasing. His songs deal less with cheating and drinking as they do with absurd characters with an occasional love ballad thrown in.

“There are a lot of things I don’t write, that I won’t write about,” Brown admitted in a recent phone interview. “So that just leaves mainly humor. So, I wrote a lot of songs with sort of funny stories to them.”

One of them is his “My Wife Thinks You’re Dead.” But his most famous, “Highway Patrol,” wasn’t written by him, but by Red Simpson. “A lot of people think I did because I made it my own, and it’s so much my style,” Brown said.

But Brown’s biggest appeal isn’t his lyrics or his vocals. At 10KLF, he will probably stir a lot of musician envy when he brings out his signature guit-steel, a two-necked contraption built by Michael Stevens that combines a standard six-string guitar with a steel guitar, both of which are amplified. Brown said that having it made eliminated the need to decide which guitar to use on which song and allowed him to play both guitar styles during a single song. The result is pure genius.

“He’s working on a new one for me now that has pedals,” Brown said. “It’s really a contraption.”

And Brown wrangles that guitar invention like no two guitarists ever could. He can dip into high-speed renditions of old chestnuts like “Sugarfoot Rag” and then offer a medley of classic rock tunes that would make Hendrix and Clapton weep. And his audiences love it.

“They like the variety, being surprised by things I guess,” He said. “That guitar helps you do that and pull out old songs that they recognize.”

Ironically, this A-list country artist didn’t come from Appalachia, but was born in Arizona, lived on the East Coast and finally came to rest in Santa Fe, NM. Equally, ironic, Junior Brown wasn’t raised on country with a family that played banjo on the pickin’ porch. His parents were classical musicians who felt that the early country music of the 50s and 60s was really folk music and much more acceptable than the emerging, irreverent new music, rock and roll. Country and rock are very glad Junior Brown honed his chops on Chet Atkins and other guitar wizards of the time. And today’s festival audiences are soaking up every note.

Who: Junior Brown

When: Thursday, July 23, 11:30 pm

Where: Barn Stage, 10KLF, Soo Pass Ranch, Detroit Lakes MN

Tickets: http://www.10klf.com

Of Fungi and Foe, and Killer Pigs and Intelligent Mushrooms Inside the Intricate Mind of Les Claypoo

2009-06-25T18:19:34+00:00

Legendary Bassist and Primus front man Les Claypool will appear at the Venue at the Hub on Wednesday, July 1. Rumored to be one of the best shows of the year, we asked Claypool why his live performances are so great.

“I don’t know about the great,” said Claypool, “but I can guarantee that year in and year out, they [the fans] have never seen anything like it… it’s an eclectic mix of cello, bass, drum kit, and they [the musicians] are all mutants. That’s my guarantee.”

Claypool must be making good on that guarantee, not just about his tours but about all of his music, because he is constantly in demand for new projects, such as the two that lead to his newest release, “Of Fungi and Foe,” on March 17, 2009.
“Of Fungi and Foe” is a compilation of material that came out of two projects Claypool was writing songs for: one, the “darkly comic horror movie” titled “Pig Hunt,” which was written and directed by James Isaac, a friend of Claypool’s from Northern California, and also starred Claypool in the role of “The Preacher.” The second, the Wii game “Mushroom Men,” features a meteor crashing into Earth and bringing with it intelligent life in the form of mushrooms.
“Of Fungi and Foe” is being promoted as Claypool’s second solo release since the mid-1980s; so how has Claypool played for so long with so many people and only released two solo albums? “Well, I think that’s sort of a misconception,” said Claypool, “that I just have the two records that I only call Les Claypool… In 1996 I released an album with The Holy Mackerel and [in 2002] under the fictitious name the Flying Frog Brigade… I’ve put out a whole barrage… I’m slowly trimming it down now you know, it was Les Claypool, in the next life it’ll be Claypool, then it will be Clay… the artist formerly known as * or ‘.’”

And then there will be nothing. “Just air,” he laughed.
Claypool’s albums feature a “who’s who” of talented musicians, including Tom Waits, Trey Anastasio and Stewart Copeland (who, together with Claypool, made up Oysterhead), Kenny Brooks and Bob Weir. How does he find the musicians he wants to work with?

“It’s like being a carpenter… and I used to be a carpenter so I know quite a few carpenters actually,” Claypool responded. “But most of these guys are people that I have run into over the years, like a Stewart Copeland or a Tom Waits, because I’ve obviously known of their music for a long time and have met them and been friends with them and have been fortunate enough to [play]... I mean, you’re a journalist, I’m sure you meet a lot of journalists. Am I correct or no? Like… you know more journalists than my plumber does.”

Claypool is right, I do know more journalists than plumbers, but talking to Claypool has got me wondering… what is more important? Knowing plumbers or journalists?
Claypool usually does one or two short tours a year “but this year I’ve already done one short tour, and I’m in the middle of the longest tour I’ve done straight in ten years,” he said. “Once I had kids I didn’t tour quite so much. Now that my kids are getting older, I can have them lift a hand.” His daughter, Lena, is accompanying him on his overseas tour.

“Do your kids play?” I asked. He responded, “My son [Cage] plays upright bass, my daughter plays piano, flute and cello. She sort of dabbles.”
I asked Claypool if he prefers to play shows, festivals, or if he even has a preference. “I love playing the old theatres because they’re so rich in history, have a vibe; some theatres are even haunted. And it’s interesting, you’ll be on a stage in Poughkeepsie or somewhere that potentially the Marx brothers pranced around on. I have this tour or I have festivals here and there… variety is the spice of life.”
Described as a true renaissance man, Claypool wrote and directed the movie “The Electric Apricot: Quest for Festeroo,” released in 2008. “I think it came out great, and we won some awards,” he said. “It’s kind of got that cult play, but it was a pain in the ass… one of the most extraordinarily difficult things I’ve ever done. A very, very trying experience.”

His novel, “South of the Pumphouse,” was published in 2006. “It was very time consuming,” he laughed. “Very independent but ah, I did it. I don’t know when I’ll do it again.” However, Claypool did mention that he is currently working on a selection of short stories.
I had heard that Claypool was outspoken about his political views so I asked him about it. “No, not terribly,” he said. “I mean, I’m not Dale Larocca. I tend to say what I think when I think it.”

Does that carry over into his music, I wondered? “In certain ways, more as a social perspective than as a political perspective. I have a song on the new record called “Red State Girl” that isn’t so much a commentary on politics… I call it a potential love story. It’s about two people that fall in love and one of their common interests is Sarah Palin.”
What is on the horizon for Les Claypool? “A lot of touring until the end of the year and then try to get the next project off of the ground.”

And what is the next project? Could be a book, could be a movie, could be a new/old collaboration or even another “solo” release. Personally, I see him as the next “Mr. Conductor” on “Thomas the Tank Engine.” With Claypool, the sky’s the limit.

Questions and comments: lawndmn@yahoo.com

INFO:

Who: Les Claypool
When: Wed, July 1, 8pm
Where: The Venue at the Hub
Cost: $23 in advance, $25 day of

Once In A Blue Moon

2009-06-25T17:00:28+00:00

Once in a blue moon, or should I say “Blue October,” you come across a band that you just flat out like. You like their music, you like their videos and if you are lucky enough to meet the band members, you like them too.

That is how I feel about Blue October, who plays Friday night, June 26, at the Venue at the Hub, in support of their fifth studio album, “Approaching Normal.” Known for being the band that everyone can relate to, many of Blue October’s lyrics are about mental illness, drug addiction and dysfunctional relationships. Their lead singer, Justin Furstenfeld, admits to being bipolar (he has his condition under control, stating “I’m not a danger to myself—anymore.”) and has spoken extensively about his depressed and deluded past.

After years of hard work, the band was signed to Universal in 1999, only to be dropped in 2002. They were re-signed by Universal but then faced multiple postponements of the release of their fourth studio album, “Foiled.” However, through it all, they kept the faith, touring and writing music, knowing that if they worked hard enough and put their time in, their big break would come.

And has it? Depends on your definition of success. One of Blue October’s most well knows songs, “Hate Me,” is about Jeremy’s battle with drug addiction and mental illness (“all of this crap that I had to get off my chest” Justin says). Yet last summer, while on a book tour with Stephanie Meyer—best selling author of the Twilight series—Jeremy said, “You don’t have to be broken to be a Blue October fan… I want to show my fans that it is OK to be happy.”

Is this success? And just last week bassist Matt Novensky took great pains to explain how the band has changed and evolved to a place “Approaching Normal,” if there is such a thing.

In this case, both success and normal mean no longer “...being the victim. I want to be a strong, confident individual… I don’t want to write sad songs anymore. I am a little older, and I have a child and that allows me to see the beauty and the mystery of life,” Justin said. With songs on this album like “Blue Does” and “Jumprope,” both written by Justin for his daughter Blue, he invites fans on his journey of self-discovery.

But before we get too wrapped in sunshine and rainbows, let us not forget the first single off of the album, “Dirt Room.” The video is rocking in the style of “The Burning Bed” and in society’s current state of political correctness, it does the soul good to see and hear someone finally get what they deserve.

Justin was invited on Stephanie Meyer’s “Breaking Dawn” theatre tour last summer when she released her fourth and final book in the Twilight series. Meyer, a fan of Blue October, described the “empathetic power in Blue October’s music—the listener doesn’t just sympathize with the feeling of the song, the listener has no choice but to feel the song as if the emotion was his/her own.” Justin sang an acoustic version of “My Never,” a spare, brooding song that describes how an end becomes a beginning, and is just one more style of song on an album already known for its eclectic musical choices.

And finally, totally unexpected (yet shouldn’t we have expected it?) is the album’s last song, appropriately named “The End.” A crazy, scary, out of control song that will remind you of every ex-boyfriend/girlfriend and what could have, might have, happened. “The End” is a truly frightening look at “what people think they can get away with… what in their brain is making them say ‘that’s OK,’” Justin said.

“What the f#$k is normal?” he asks. “The album is a play on how everyone’s sense of normal is at risk over something, happiness or sadness or, God forbid—madness. Blue October is a mood. Whether you listen to the words or not, the music sets a tone, and as for the lyrics, well, you either love it or hate it.”

As for the critics, they don’t know what to do. Blue October’s sound was called a “roadblock” by writer Jerry McCulley, stating that “none of the songs are unified around a single or couple of genres” and “I cringe because it’s going to be a hard trek” when referring to the band’s success with their “wide range of music.”

Does this bother the band? Absolutely not. First and foremost, these guys are musicians and when you have five different people with five different musical backgrounds and influences, you are lucky to combine a wide influx of sounds and lyrics from true artists who are breaking their musical mold over and over again.

And all I can say is thank God. Now that’s a show I don’t want to miss, and you shouldn’t either.

Questions and comments: lawndmn@yahoo.com

INFO:

Who: Blue October
When: Fri, June 26, 6pm
Where: The Venue at the Hub
Cost: $26 in advance, $28 day of - all ages

Still Truckin’

2009-06-18T17:42:51+00:00

A pinch of soul, a dash of jazz, a teaspoon of blues and a whole cup of screaming guitar wielded by one of the youngest guitarists to ever make Rolling Stone’s “Top 100 Guitarists.” Put all that together, and you have The Derek Truck’s Band, one of the most uniquely talented bands to hit Fargo in recent years.

“He is such a talent, inventive and musically adventurous,” said DTB lead singer and Minneapolis native Mike Mattison.

And it’s no stretch to call Trucks a talent by any means. Trucks, who picked up his first guitar when he was nine, toured with both The Allman Brothers and Clapton, hailed as one of the greatest guitarists of his generation and founded DTB at 15, has infused that inventive talent into every note of their new album, “Already Free.”

“It’s improvisatory music,” Mattison said, filled with blues, jazz and sonic influences from around the world.

The album itself was recorded in a studio built by Trucks in the backyard of his family’s home.

“About a year ago when we started to record, it was just getting up and running,” Mattison said, “So as he and other folks in the band starting learning how to use the studio, there were a lot of interesting discoveries musically in that time.”

Mattison, who studied at Harvard, and sang Jazz in Hungary, joined the band in 1999 (five years after it was founded) and has been touring with them ever since. “At the time I was working in New York, editing at a PR firm,” Mattison said. “I am very lucky that I got this opportunity, and when it arrived, I just kind of jumped in.”

Now, touring with the band has become a full-time job and the fulfillment of a lifelong dream for Mattison.

“As a musician you always hope to support yourself one day,” he said.

The shear amount of touring is one factor that sets DTB apart from so many other bands. Their emphasis as a band is more about their live performances than an attempt to put out multi-platinum albums and hit singles. DTB has elevated live performance to an art form, entertaining audiences across both the U.S. and U.K.

“A lot of times live music isn’t as good as recorded music. People tend to spend more time on their recording than performance. This band, it makes good records, but at the same time live is really the thing that we do,” Mattison said. “I do it for a living, and I tour every other night. I never get tired of hearing these guys play.”

Trucks and Mattison share the stage with bassist Todd Smallie, drummer Yonrico Scott, keyboardist Kofi Burbridge and percussionist Count M’Butu. Their new record, “Already Free,” was released earlier this year. Many of its tracks can be heard on their website, http://www.derektrucks.com.

A Legend Lives On: The Glenn Miller Orchestra

2009-06-18T17:41:09+00:00

The legendary Glenn Miller was one of the most successful of all the dance bandleaders back in the Swing era of the 1930s and ‘40s. A string of hit records, the constant impact of radio broadcasts and the drawing power at theatres, hotels, and dance pavilions built and sustained the band’s popularity.

But Glenn disbanded his musical organization in 1942, at the height of its popularity, volunteered for the Army and then went on to organize and lead the famous Glenn Miller Army Air Force Band. It went to Europe to entertain servicemen, and then, on December 15, 1944, Major Miller took off in a single-engine plane from England to precede his band to France, never to be seen again. The army declared him officially dead a year later.

Because of popular demand, the Miller Estate authorized the formation of the present Glenn Miller Orchestra in 1956 under the direction of drummer Ray McKinley, who had become the unofficial leader of the Army Air Force Band after Glenn’s disappearance. Since then, other leaders have followed Ray, including clarinetists Buddy DeFranco and Peanuts Hucko, trumpeter & jazz educator Dick Lowenthal, drummer Clem DeRosa, trombonists Buddy Morrow, Jimmy Henderson and Larry O’Brien and tenor saxophonist Dick Gerhart.

Most of the band’s shows are sold out. It has proven staying power, and its popularity has never seemed to wane. Indeed, the Glenn Miller Orchestra today may still the most sought after big-band in the world, just as it was in Glenn’s day.

Alton Glenn Miller was born in Clarinda, Iowa on March 1, 1904. But it was in North Platte, Nebraska—several years later—that Glenn actually got his musical start when, one day, his father brought home a mandolin. Glenn promptly traded it for an old battered horn, which he practiced every chance he got.

Miller played and recorded with the likes of Tommy and Jimmy Dorsey (who on several of their records featured an up-and-coming singer by the name of Bing Crosby), Gene Krupa, Eddie Condon and Coleman Hawkins. In addition, during that time, Glenn cut 18 sides for Goodman, and also worked for radio studio conductors like Victor Young, Carl Fenton and Jacques Renard. In 1934, Miller became the musical director of the Dorsey Band, and later went on to organize The Ray Noble Orchestra, which included such players as Charlie Spivak, Peewee Erwin, Bud Freeman, Johnny Mince, George Van Eps and Delmar Kaplan, among others.

In 1937, Glenn Miller stepped out to form his own band. There were a few recordings, a couple of week-long stints in New Orleans and Dallas and many one-nighters, but it was not to be. Though the group would play one more date several days later in Bridgeport, Connecticut, Glenn gave his men their final notice on New Year’s Eve at the Valencia Ballroom in York, Pennsylvania. Broke, depressed and having no idea what he was going to do, he returned to New York City.

Formed in March 1938, the second Glenn Miller Orchestra—which would later include the likes of Tex Beneke, Marion Hutton, Ray Eberle, Paul Tanner, Johnny Best, Hal McIntyre, and Al Klinck—soon began breaking attendance records up and down the East Coast. At the New York State Fair in Syracuse it attracted the largest dancing crowd in the city’s history. The next night it topped Guy Lombardo’s all-time record at the Hershey Park Ballroom in Pennsylvania. The Orchestra was invited by ASCAP to perform at Carnegie Hall with three of the greatest bands ever—Paul Whiteman, Fred Waring and Benny Goodman—and created more of a stir than any of them.

There were record-breaking recordings as well, such as “Tuxedo Junction,” which sold 115,000 copies in the first week. “In the Mood,” and “Pennsylvania 6-5000,” all appearing on the RCA Victor Bluebird label. In early 1940, Down Beat Magazine announced that Miller had topped all other bands in its Sweet Band Poll, and capping off this seemingly sudden rise to the top, there was, of course, Glenn Miller’s “Moonlight Serenade” radio series for Chesterfield cigarettes which aired three times a week over CBS.

In 1941, it was off to Hollywood, where the band worked on its first movie, “Sun Valley Serenade,” which introduced the song—and soon-to-be million selling record—“Chattanooga Choo Choo,” and featured the Modernaires and the Nicholas Brothers. Then came “Orchestra Wives.” But the war was starting to take its toll on many of the big bands as musicians, and the rest of country’s young men, began receiving draft notices.

On October 7, 1942, Alton Glenn Miller reported for induction into the Army and was immediately assigned to the Army Specialist Corps. His appointment as a Captain came after many months of convincing the military higher-ups that he could modernize the army band and ultimately improve the morale of the men. His training complete, he was transferred into the Army Air Corps, where he ultimately organized the Glenn Miller Army Air Force Band. Miller’s goal of entertaining the fighting troops took another year to be realized, but in late 1943 he and the band were shipped out to England.

There, in less than one year, the Glenn Miller Army Air Force Band engaged in over 800 performances. Of these, 500 were broadcasts heard by millions. There were more than 300 personal appearances including concerts and dances, with a gross attendance of over 600,000. But Glenn did not participate in the final six months of these activities.

In the Fall of 1944, the band was scheduled to be sent on a six-week tour of Europe and would be stationed in Paris during that time. Miller decided to go ahead, in order to make the proper arrangements for the group’s arrival. And so, on December 15, Glenn Miller boarded a transport plane to Paris, and disappeared.

Larry O’Brien became the leader of the Glenn Miller Orchestra on November 25, 1988. It was the second time that Larry had held the position; the first time being from June, 1981 through September, 1983, when he was called away by other commitments.

“I’m only somewhat amazed about the Miller mystique,” Larry stated. “It’s many-faceted. There’s more than one reason for the continuing popularity of the band. For one thing, Glenn gave up a lucrative band business when he was at his zenith to join the service when he didn’t have to. He was immensely popular when he entered the service. The band had sold more records in a year than, I think, [than] Elvis or the Beatles ever did in a year. Then he went on to form a monster band, play all over Europe for the GIs, help sell a lot of war bonds, improve morale, and generally contribute greatly to the war effort.”

He then added, “Finally, he disappeared mysteriously in a plane that took off from England for France on December 15, 1944. No trace of the plane has ever been found. So I think it’s a combination of all these factors in addition to the great Miller sound itself that keeps his music and his name alive.”

O’Brien has his own ideas about how to keep the Miller style and sound fresh. “I’m a traditionalist, but we’re not nit-picky Miller. We’ve instituted some changes we think Glenn probably would have instituted himself were he still here such as retaining the voicing of Danny Boy as a brass chorale, but replacing the trumpets with fluegelhorns and having the trombones play in hat.”

The band also boasts Julia Rich. Julia became the featured female vocalist with the Glenn Miller Orchestra on November 16, 1985 at the Opryland Hotel in her hometown of Nashville. In addition to singing, Julia served as assistant road manager from 1987 - 1992 and the band’s road manager through 2000.

The 19-member band continues to play many of the original Miller arrangements that keep exciting fans who have not heard them played for a while. Additionally, they are also playing more modern selections in the big-band style, selecting only those newer tunes that lend themselves naturally to the Miller style and sound, carefully selected pieces that will stay around for a while. The entire repertoire, which now exceeds 1,700 compositions, keeps the band popular for both young and old.

Rattlin’ Bones: Kasey Chambers & Shane Nicholson

2009-06-18T17:38:59+00:00

The Fargo-Moorhead Community Theatre welcomes Kasey Chambers and Shane Nicholson tonight, Thursday, June 18. This Austrailian husband and wife team are on tour to support their first ever collaboration, Rattlin’ Bones, a collection of sparse, roots baring country songs that can only be described as a mixture of early country, urban bluegrass and folk rock.

Although the duo describes their biggest influences on this album as Gram Parsons, Emmylou Harris and Gillian Welch, if you are a fan of Robert Plant and Alison Krauss’s Raising Sands, you will not want to miss this show. From the guitars, dobros, banjos, lap-steels and fiddles heard on the album’s title track to the lover’s exchange in “Wildflower” to Chamber’s cowgirl yodels on “The Devil’s Inside My Head,” there is a sweet, soulful exchange between these two artists, a musical conversation that only happens when two people are truly singing together. Much like on Raising Sands, the power of this album comes from its unexpected harmonies and bare bones style.

Kasey Chambers, already a well-known country artist in Australia, has sold over one million albums, been awarded seven Australian Record Industry Association awards, five Country Music Association of Australia Golden Guitars and a host of Australian Performing Right Association awards. For Chambers, music has always been a family affair, from her teenage years in family group the Dead Ringer Band and then with brother Nash as producer and father Bill close at hand and playing anything he could find with strings on it. Nash and Nicholson produced Rattlin’ Bones, and it was recorded in just a week.

Shane Nicholson started his musical career as the front man for Brisbane-based rock band Pretty Violet Stain and his subsequent solo work includes the albums It’s A Movie and Faith and Science. It’s A Movie was named one of the top pop albums of 2004 by USA Today and was on Billboard’s “Best of 2005” executive editor’s list. Nicholson released a new album, Familiar Ghosts, in November of 2008.

Fortunately for fans, Chambers and Nicholson’s music was made to play live and the emotion and power of their songs, as well as the stories behind them, should not be missed.

The 10KLF Experience and New Ticket Info

2009-06-12T18:49:48+00:00

Finally, the first rising vibes of summer are upon us, and it’s time to bask in the sun. Of course, there are the usual activities that you can do just about every weekend – camping, going to the lake, grilling with friends and family, frisbee golf, etc. Then there are the festivals, which include all of the above, but add a blissful kick of music and festival activities that you can’t achieve anywhere else. If you miss these, you have to wait until next year.

Probably one of finest music festivals that the Midwest nourishes—the10,000 Lakes Music Festival—is just around the corner. This musical bonding event is an annual four-day festival located on the Soo Pass Ranch’s scenic and pristine camping grounds in Detroit lakes, MN. It hosts a psychedelic-musical smörgåsbord of around 60 rock and jam bands from around the country. Some of this year’s headliners include (but are definitely not limited to): The Dave Matthews Band, Widespread Panic, Wilco, Umphrey’s McGee, Wookiefoot, Gypsyfoot, Mason Jennings, Atmosphere and Trampled by Turtles. It runs from Wednesday, July 22 and closes at noon on Sunday, July 26.

During this four-day retreat, which attracts both families and hardcore festival-goers alike, you may witness anything from pure camping tranquility and becoming one with nature to fire dancers and late night drum circles. Vendors line both the concert bowl and entrances of the four camping grounds, providing plenty of food/drink, clothing, and novelty items. You can choose any of the campgrounds to camp in over the weekend, including the popular tree-shaded and hilly Northwoods Campground, the shores of the Lake Sally Campground with its famous amazing sunsets, or the Blue Ox/Viking Campgrounds to the east with rolling meadows all within walking distance to the concert bowl.

You can experience all of the camping delights and the top-notch musical acts for a really affordable rate. This year, the promoters seemed to realize that our pockets don’t run as deep in these hard economic times. They have bundled the general four-day music and camping admission into a $185 package (with the camping car registration costing $50), and the four-day VIP camping/music package will run you $395 (and $50 for a VIP car permit). This year, the festival even offered the option of paying for ticket packages in two separate payments. That deal ran through the end of May.

Single Day Tickets are offered for Saturday July 25 only that includes camping and music. These tickets sell for $99 plus a $10 car permit for general admission and $175 for VIP plus a $10 car permit. For those who wish to attend Saturday’s music only, which goes from noon to 3 am, is only $75.

The VIP tickets include great VIP concert seating, catered meals, and a much most exclusive camping area right behind the main stage, which is also shared with most of the performers. It can be said that the VIP area is generally a quieter area. The Saturday only VIP ticket also includes a catered lunch.

This is one festival you should be sure not to miss and these day passes are limited so grab them while you can! To buy tickets or gather more information about prices, rules and regulations, and anything else be sure to visit http://www.10klf.com.

Questions and comments: Garrett Plutowski tidusmx@gmail.com