Gems in the Wilderness
Election Week and Halloween in Asheville 2008
BrotherWayword
On October 28th, The Grey Eagle in Asheville hosted “North Carolina Rocks For Change” on very short but timely notice. As is the case with events in Asheville, the news spread like wildfire and for a Tuesday night, it was well-attended. That vibrant night was devoted to a celebration of this country's claim to freedom, the election process. It also doubled as a sampler of a piece of North Carolina independent music history. Headlined by Tift Merritt, one of the best singer-songwriters of the Folk/Rock and Alt-Country genres working in the world today, it featured several of the legends of the Triangle Area. The festivities were initiated by Superchunk's Max McCaughan and his project, Portastatic. The sonic scion of the now defunct Mammoth Records family led a line-up of great songwriters comprising an excellent impromptu band in addition to some stirring solo performances with guitar. Though it was put together somewhat hastily, these home-grown pros offered a variety of styles both individually and together. Greg Humphries of Hobex played and sang several R&B standards with accompaniment including the great Chris Stamey on guitar. Stamey, having made so many contributions writing, recording, performing and producing, is best known as a co- founder of the Dbs. He and Peter Holsapple took their Chapel Hill based band to NYC and London, creating some of the strongest albums of the early 80's pioneering what would be called Indy Rock and literally blazing the trail for REM and others from the hinterlands to follow. His set exhibited the masterfully quirky “kid next door” vocal delivery that many N.C. songwriters have absorbed into their approach to the craft. He was one of the first to make it cool to sing naturally; to sing like yourself. Think of Ben Folds, Mitch Easter, and even Michael Stipe as examples of unmannered honesty and you'll hear the lessons learned from the Dbs. Stamey's intricate guitar work and deft tune-smithery elevated the listening experience to the level of education with such luscious tunes as “Leap of Faith”...
Tift Merritt and her band have been touring the world non-stop for over a year in support of her March 2008 release “Another Country”. Despite an oncoming cold, she belted out a powerful solo set that began with an emotional rendition of Dylan's “Hard Rain” (chosen for the occasion), and included an acoustic version of her moving hit “Broken” and “Another Country” on piano. She got quite a workout in the process, having to twist around to see the audience from the piano bench, but she pulled that off graciously. Stamey and Humphries joined Merritt around the piano giving the finale a feel of family appropriate to the focus of the benefit itself. Following these artists were Asheville’s The Reigning Sound, consisting of the former rhythm section of the Unholy Trio, drummer Lance Willie, and bassist Dave Gay playing the R&B soul pop songs of Greg Cartwright, formerly of The Oblivions from Memphis, now relocated. They helped turn the evening into a dance party which included the other musicians participation in the excitement. These folks were genuinely delighted to be a part of the effort to get voters to the polls. A requirement for admission was that one must have voted early. The honor system was used. These are honorable musicians of whom N.C. can be proud.
Also occuring around Election Week in Asheville were two very special shows. One of these had nothing to do with political change and everything to do with change of seasons...and of personality.
The third annual Unknown Hinson Halloween show at the Grey Eagle found Mr. Hinson and his fans in full sartorial regalia and ebullient splendor. Not only did he and the band display the virtuosity honed-down by constant touring, they played for nearly three hours altogether, ringing in All Saints Day with their festooned minions. Yes, Unknown is the King of country music, and one might add to his domain, that of vampire rock'n roll and rockabilly as well. He can really tear it up and just gets better and better employing a Rickenbacker these days for his guitar-shreddin', chart-toppin' party dogfights with his cohorts, Roger “Tiny” Kohls on bass and Frank “the Tank” Sorrell on drums. All the big hits from Unknown's illustrious career were played to the crowd's diabolical delight. Blistering rockers like “Rock 'n Roll Is Straight From Hell” give glimpses of the myth of the man, (named after his Daddy), while tear (or something) jerking country beseechings like “Love on Demand” rouse the plaintive vulnerability at the heart of all lusty country music, of which Unknown is truly the King.
As has become tradition, Unknown usually gives the crowd what they want with a rousing rendition of Hendrix' “Voodoo Chile” and other epic tours de force. This evening there was a unique twist. Unknown got political! (sort of)...Dylan was summoned forth from rolling over in his own future vampire grave when Unknown began to ask the musical question, “How does it feel?” Many in the crowd were seen exuding streams of mascara smearing tears when Unknown clarified the sentiment of that question with the immortal words to “Like a Rolling Stone”: “to be on your own, with no ERECTION home!” It was devastating. This had to have some effect on the election results...or was he up to some other kinds of slight of hand tomfoolery? The times are really a -changin' and if it truly takes a village, (of chameleons), why not the King? The hardest working man in Country music will be returning to the QC as the Unknown Hinson show takes over The Visulite on Dec. 26th. Don't miss the tricks from this holiday treat as the local hero returns triumphantly following a stint with Billy Bob Thornton.
Making no bones whatsoever about his politics is what has fed Billy Bragg and his career for two and a half decades now. He chose to end his North American tour in Asheville at the Orange Peel the Sunday before election day for reasons that could be seen as strategic. If his warmth and humor are any indication, there may be a soft-spot in his heart for the jewel of the Blue Ridge, but it was clear that he knew that N.C. was going to be pivotal with respect to the following Tuesday's outcome. Bragg performed most of his greatest songs and many of the Woody Guthrie tunes released on the Mermaid Avenue record made with Jeff Tweedy and Wilco. He gave in-depth descriptions of the process and motivation for these songs. Insight as to what must've been Guthrie's process was also offered, particularly his musing over the imaginative process in which he imagines Woody revelling while composing “Ingrid Bergman” as he places himself in Stromboli, Italy with the Roberto Rosselini film crew and the “It Girl” of the 40's. Billy got quite detailed with his description of the fantasy inspiring this song as he envisioned the lonely Guthrie, left to his own devices, taking matters in his own hands. The audience expressed their gleeful appreciation of this quasi-anecdote.
Though one might expect that Bragg would be preachin' to the choir (and one would be correct), a remarkably cautionary tone was taken during Bragg's monologues having to do with the election itself.
Before the classic “Great Leap Forward” and a song from his most recent album, “I Keep Faith”, he warned against cynicism and complacency, recalling the breathtaking expectations of the working class Brits when Tony Blair he was first elected. It was wise and mature and could not be mistaken as “knee-jerk” by any sane observer. This man does the research and lives the message of change which he expounds as the core of his life's work We are fortunate that he chooses to enlighten audiences in the states who have been deprived of accurate reports of world (and local) events for too long.
But every fan of Bragg knows that it is the love songs which make us want to sing with him and in the case of a couple of tunes, for him. Western North Carolinians, both natives and transplants, had no difficulty in shouting out with cockney accents the chorus to” The Milkman of Human Kindness” which ends with the sustained articulation of the word “pint”, pronounced “poyyyeeent!”. Here's hoping there are more musical pints yet to be left by Mr. Bragg in this brave new world and that he continues to leave them on our doorstep here in the Hinterlands.
Finally, a “Gems in the Wilderness” heads-up. Asheville's Tyler Ramsey of Band of Horses will be playing December 5th at the Hub-bub Showroom in Spartanburg and December 6th in Charlotte at The Evening Muse. His record “Long Dream” embraces folk roots with its magnificent finger-picking style and songwriting integrity. Though he can play anything, from keys to lead guitar, it is refreshing to hear the simplicity of this record, released as the Band of Horses achieved worldwide popularity since taking on the services of Ramsey and fellow Ashevillian Bill Reynolds .
Thursday, December 4, 2008
Tuesday, October 21, 2008
StephaniesId "Grus Americanus"-Amps11 September 2008
“Grus Americanus” beautifully reveals the evolutionary process of becoming the genuine creative musical entity that is Asheville's “stephaniesid”. This recent (2007) Nine Mile Records release presents a unique distillation of the myriad investigations into the making of pop music that occupy the dual focus of Stephanie Morgan and Chuck Lichtenberger. Along with help from their talented friends, they are helping to carve out a musical identity which transcends the hype of the Asheville music scene and gives it living, breathing reality.
The awareness of the process of becoming alive in the world and surviving to continue to grow as a species rings persistently through these songs inspired by the plight of the endangered Whooping Crane (Grus Americana). The title chooses the plural version of the Latin name so as to include all other endangered species, and specifically, the universal American.
From the first song, “Wash Us Down With Sea Saline”, we are gently immersed into the universal sea of existence through the nature of its minutiae; sea salt- the ultimate healing and regenerating substance provided for all living beings on earth in abundance. The questions concerning survival are not directly asked or answered but they are presented poetically and alluded to through the musical aesthetic. Why do we envision heat-seeking missiles while contemplating sunset on the water? The theme of the irony of the conditions of living resonates as we continue the exploration of sentient nature courtesy of the pop idiom so well-crafted (in dreams?) by the “Id” reaching its destination... back to its new origins... the family in all of its roles and manifestations of becoming. How do we grow, and not transgress? Of course, the reality is that we thrive and injure, learn and heal, and change- hopefully for the better. The final song, “Bounce”, reassures us of the opportunity for metamorphisis which is exactly what the band has been doing as they carve out their own sound from the basic piano-guitar combo through the lush dynamic crescendo provided by vibes, chimes, bells, the harp, bowed bass and cello, great backing vocals, and the variety of sounds employed so tastefully from their arsenal.
Stephanie Morgan has assumed an important, nurturing role this past year, especially as an advocate of alternative music, hosting the first Asheville Pop Fest. There are many types of music swirling around the western NC area, not only the various “Americana, “Roots”, or “alt-Country” labels one associates with the programming of that great radio oasis, WNCW (88.7fm). Musicians who defy labelling are cropping up all over the place around the Asheville region. Many players who are adept stylists in one genre are also virtuosos in other realms .This leads to a smorgasboard of juxtapositions and combinations which can all exist together in harmony or dissonance. In a society which tends to marginilize the aberration, this openness is refreshing. It is also biologically sound, keeping in mind the importance of diversity in the survival of any ecosystem. Yes, a place like Asheville can seem “spread too thin”, or even predictably “alternative” to the casual tourist, but there is much more going on than what one sees or hears at a cursory glance. This variety is the key to its survival, and one of the heartfelt strains running through the music of “Stephanie's Id”. The variations however, are focused on “Grus Americanus” theme, which could be identified as survival of a thriving community; a family of one's own choosing.
Friends of the “Id” from diverse musical styles have contributed greatly to this music, occasionally in novel ways. The third and fourth tracks have serious mainstream R&B hit potential. “Cindy”, with it's dance-club bassline and catchy melody sneaks up on the listener with its plea for taking care of ourselves- appropriate notions for those who dance. “Hey Hey Hey” with rocker Woody Wood soulfully rediscovering the pulpit of Al Green with his backing vocals, pays homage to that timeless sound without aping it, which dovetails nicely with the reminder cautioning the self-destructive clinging “to something higher” which stops individual development dead in its tracks. This is where the actual work of survival of the species must be done. Each of us have unique capacities and proclivities which contribute to the culture's growth if allowed to develop. “Stephanie's Id” provides an environment for illuminated experimentation by remaining open to stylistic exploration within a specific litany. These songs reveal caring and committed professional craftsmanship at its apex. They stimulate the wonder of the local musicians whose good fortune it has been to be a part of the family.
The best songs of this record, (and there is no throwaway song on “Grus Americanus”), further investigate the nooks and crannies of the spiritual expedition of this community. Stephanie mines the depth of her personal psychic cave with the emotive tools of songcraft sharpened in the cultural cauldron of the gem of the hinterlands in western N.C. How do we thrive and allow thriving? “Cold Cold” (side of the road) deftly weaves the theme of the futility of egotistical endeavor with that of an emotional tourist whose obsession with dominion over all that can be colonized in a fleeting glance begins as a fly stuck on the wall and ends up in a ditch. In concert, at Snug Harbor in Charlotte this spring, this song became a performance piece extroardinaire. In keeping with the shared focus, the band sits back in the arrangement until the energy reaches its emotional peak , entwining Hammond B-3 and Moog (the late great Asheville adoptee, Bob Moog sings from the great beyond) with the refrain,”One look in the mouth of a horse brings you down”. “Airplanes” departs from the more pervasive Impressionistic approach and seems like a musical love letter from Atlanta..almost home but not quite. The song ends with the tension of the anticipation of coming home...Remember, ”nothin' is better” than ruby roller skates! (By the way, you'v got to see Stephanie performing on wheels!) These three tunes in the middle, culminating with “Ozone” are very sensuously written and the band is having a good time subtly enhancing the sexy mood with new toys such as the euphonium and clarinet and Rich Willey's flugelhorn and old but good toys like the steadfast Fender Rhodes skillfully employed by Chuck Lichtenberger and Michael Libramento's painterly guitar. Throughout “Grus Americanus”, there is an adherence to groove which ebbs and flows as R.Geisler and Vic Stafford nail the beat. It doesn't hurt that Vic Stafford not only holds down the drumkit, but does a luscious job of production and mastering with the aid of Julian Dreyer and Russ Fowler. The Wurlitzer is another of the toys that Chuck uses so tastefully on this record, particularly in the song “Quite Enough”. The rain palpably falls into a sheet of cold mountain spring setting this exquisite melody in the resonating gorgeous gorge of its native geology. The perspective on survival summoned-up on “Cold Cold”is fleshed out in the painter's imagery as materialism, aggrandizement, death, and indulgence in distancing through the obsession with media information have become our apocalypse all simply due to the lack of love .This song and “Unmistakably Love” are two examples of great popcraft. They both express the vulnerability of beauty and love and address the brutality of nature. “One by one and altogether” serves as a mantra repeating the conundrum of questions surrounding the survival of the species. How does the individual join the community without losing itself or transgressing others? Through genuine love, the individual can be part of a community which nurtures its beauty whose carillon trumpet grabs our sentient attention as if we were endangered birds. In our exploration of the minutiae, we must take care to see more than the side of the road as a passerby, but open ourselves to the potential beauty in the world. The sensitive attention to dynamics as exemplified by alternating mellotron and piano riffs appear to be song -driven as is true of the production throughout “Grus Americanus”. There is evidence of the respect due the inspired song in the care taken with this music. This is where the community gets to shine in its diversity. With the guidance of the musical vision of Stephanie Morgan and Chuck Lichtenberger, and the help of such friends as Mike Alexander, Holliday Childress, Sara McDonald, Mary Ellen Bush, Jenny Greer, Michael Morel, and other local artists, to quote the liner notes, “We Got Somethin Here”. Now, since “Stephanie's Id” has become visible beyond the immediate community, through their recent success at Bonaroo and other travels. The survival of that community can become more universal as it thrives locally. “Grus Americanus” is one of the reasons that fans all over this country and Europe ask,” Where is Asheville?” Well, Asheville is everywhere. “Stephanie's Id” played The Neighborhood Theatre August 15th and it was well-attended.
The awareness of the process of becoming alive in the world and surviving to continue to grow as a species rings persistently through these songs inspired by the plight of the endangered Whooping Crane (Grus Americana). The title chooses the plural version of the Latin name so as to include all other endangered species, and specifically, the universal American.
From the first song, “Wash Us Down With Sea Saline”, we are gently immersed into the universal sea of existence through the nature of its minutiae; sea salt- the ultimate healing and regenerating substance provided for all living beings on earth in abundance. The questions concerning survival are not directly asked or answered but they are presented poetically and alluded to through the musical aesthetic. Why do we envision heat-seeking missiles while contemplating sunset on the water? The theme of the irony of the conditions of living resonates as we continue the exploration of sentient nature courtesy of the pop idiom so well-crafted (in dreams?) by the “Id” reaching its destination... back to its new origins... the family in all of its roles and manifestations of becoming. How do we grow, and not transgress? Of course, the reality is that we thrive and injure, learn and heal, and change- hopefully for the better. The final song, “Bounce”, reassures us of the opportunity for metamorphisis which is exactly what the band has been doing as they carve out their own sound from the basic piano-guitar combo through the lush dynamic crescendo provided by vibes, chimes, bells, the harp, bowed bass and cello, great backing vocals, and the variety of sounds employed so tastefully from their arsenal.
Stephanie Morgan has assumed an important, nurturing role this past year, especially as an advocate of alternative music, hosting the first Asheville Pop Fest. There are many types of music swirling around the western NC area, not only the various “Americana, “Roots”, or “alt-Country” labels one associates with the programming of that great radio oasis, WNCW (88.7fm). Musicians who defy labelling are cropping up all over the place around the Asheville region. Many players who are adept stylists in one genre are also virtuosos in other realms .This leads to a smorgasboard of juxtapositions and combinations which can all exist together in harmony or dissonance. In a society which tends to marginilize the aberration, this openness is refreshing. It is also biologically sound, keeping in mind the importance of diversity in the survival of any ecosystem. Yes, a place like Asheville can seem “spread too thin”, or even predictably “alternative” to the casual tourist, but there is much more going on than what one sees or hears at a cursory glance. This variety is the key to its survival, and one of the heartfelt strains running through the music of “Stephanie's Id”. The variations however, are focused on “Grus Americanus” theme, which could be identified as survival of a thriving community; a family of one's own choosing.
Friends of the “Id” from diverse musical styles have contributed greatly to this music, occasionally in novel ways. The third and fourth tracks have serious mainstream R&B hit potential. “Cindy”, with it's dance-club bassline and catchy melody sneaks up on the listener with its plea for taking care of ourselves- appropriate notions for those who dance. “Hey Hey Hey” with rocker Woody Wood soulfully rediscovering the pulpit of Al Green with his backing vocals, pays homage to that timeless sound without aping it, which dovetails nicely with the reminder cautioning the self-destructive clinging “to something higher” which stops individual development dead in its tracks. This is where the actual work of survival of the species must be done. Each of us have unique capacities and proclivities which contribute to the culture's growth if allowed to develop. “Stephanie's Id” provides an environment for illuminated experimentation by remaining open to stylistic exploration within a specific litany. These songs reveal caring and committed professional craftsmanship at its apex. They stimulate the wonder of the local musicians whose good fortune it has been to be a part of the family.
The best songs of this record, (and there is no throwaway song on “Grus Americanus”), further investigate the nooks and crannies of the spiritual expedition of this community. Stephanie mines the depth of her personal psychic cave with the emotive tools of songcraft sharpened in the cultural cauldron of the gem of the hinterlands in western N.C. How do we thrive and allow thriving? “Cold Cold” (side of the road) deftly weaves the theme of the futility of egotistical endeavor with that of an emotional tourist whose obsession with dominion over all that can be colonized in a fleeting glance begins as a fly stuck on the wall and ends up in a ditch. In concert, at Snug Harbor in Charlotte this spring, this song became a performance piece extroardinaire. In keeping with the shared focus, the band sits back in the arrangement until the energy reaches its emotional peak , entwining Hammond B-3 and Moog (the late great Asheville adoptee, Bob Moog sings from the great beyond) with the refrain,”One look in the mouth of a horse brings you down”. “Airplanes” departs from the more pervasive Impressionistic approach and seems like a musical love letter from Atlanta..almost home but not quite. The song ends with the tension of the anticipation of coming home...Remember, ”nothin' is better” than ruby roller skates! (By the way, you'v got to see Stephanie performing on wheels!) These three tunes in the middle, culminating with “Ozone” are very sensuously written and the band is having a good time subtly enhancing the sexy mood with new toys such as the euphonium and clarinet and Rich Willey's flugelhorn and old but good toys like the steadfast Fender Rhodes skillfully employed by Chuck Lichtenberger and Michael Libramento's painterly guitar. Throughout “Grus Americanus”, there is an adherence to groove which ebbs and flows as R.Geisler and Vic Stafford nail the beat. It doesn't hurt that Vic Stafford not only holds down the drumkit, but does a luscious job of production and mastering with the aid of Julian Dreyer and Russ Fowler. The Wurlitzer is another of the toys that Chuck uses so tastefully on this record, particularly in the song “Quite Enough”. The rain palpably falls into a sheet of cold mountain spring setting this exquisite melody in the resonating gorgeous gorge of its native geology. The perspective on survival summoned-up on “Cold Cold”is fleshed out in the painter's imagery as materialism, aggrandizement, death, and indulgence in distancing through the obsession with media information have become our apocalypse all simply due to the lack of love .This song and “Unmistakably Love” are two examples of great popcraft. They both express the vulnerability of beauty and love and address the brutality of nature. “One by one and altogether” serves as a mantra repeating the conundrum of questions surrounding the survival of the species. How does the individual join the community without losing itself or transgressing others? Through genuine love, the individual can be part of a community which nurtures its beauty whose carillon trumpet grabs our sentient attention as if we were endangered birds. In our exploration of the minutiae, we must take care to see more than the side of the road as a passerby, but open ourselves to the potential beauty in the world. The sensitive attention to dynamics as exemplified by alternating mellotron and piano riffs appear to be song -driven as is true of the production throughout “Grus Americanus”. There is evidence of the respect due the inspired song in the care taken with this music. This is where the community gets to shine in its diversity. With the guidance of the musical vision of Stephanie Morgan and Chuck Lichtenberger, and the help of such friends as Mike Alexander, Holliday Childress, Sara McDonald, Mary Ellen Bush, Jenny Greer, Michael Morel, and other local artists, to quote the liner notes, “We Got Somethin Here”. Now, since “Stephanie's Id” has become visible beyond the immediate community, through their recent success at Bonaroo and other travels. The survival of that community can become more universal as it thrives locally. “Grus Americanus” is one of the reasons that fans all over this country and Europe ask,” Where is Asheville?” Well, Asheville is everywhere. “Stephanie's Id” played The Neighborhood Theatre August 15th and it was well-attended.
Sunday, October 12, 2008
N.Y.Times blog- Response to "Measure for Measure": Peter Holsapple
31.
July 13th,20084:05 pm
What fun it is to be sitting here in a studio in Asheville and listenin to one of my favorite Dbs tunes. I had the demo version in my painting studio in the east village on constant rotation circa ‘83-’84..I always liked it better than the release..It seemed that the truncation of the bridge undermined the insanity of the tortured soul singing just a bit.. I also thought I heard a little ambiguity on the enunciation of the chorus lyric, sometimes replacing the “M” with an “H” which enhanced the cryptic Beatlesesque aura of the Dbs, and made the sentiment real to fans who considered themselves more than casual..I was probably conditioned by the demo..thanks to Charlie Shaw..It also had “Modern Boys” on it.One thing I know for sure…the “personal” nature of a song is what hooks me..In the post-post-modern culture, the content is really the juicy bit which elevates creativity past fashionable taste towards the unattainable yet timeless evernew, and unexpected chops, dwindles, and elliptical investigations are useless drivel without content. I’ve always been partial to Elvis Costello’s bridge techniques a la “Get Happy”, “Imperial Bedroom” and “Trust”..They take the plurality of the Lennon-McCartney use of bridges(see “Two of Us”) and fuse it into one schizo perspective which makes for an honest unity and more tension can be peaked and released. But this is all content-based. If the form doesn’t srengthen the story, over time it feels mannered.“King Horse” and “Hi Fidelity” have that great take-off and landing of which you speak which give the rest of the song some legs..sexy,to a leglover eh? — Posted by George Terry
July 13th,20084:05 pm
What fun it is to be sitting here in a studio in Asheville and listenin to one of my favorite Dbs tunes. I had the demo version in my painting studio in the east village on constant rotation circa ‘83-’84..I always liked it better than the release..It seemed that the truncation of the bridge undermined the insanity of the tortured soul singing just a bit.. I also thought I heard a little ambiguity on the enunciation of the chorus lyric, sometimes replacing the “M” with an “H” which enhanced the cryptic Beatlesesque aura of the Dbs, and made the sentiment real to fans who considered themselves more than casual..I was probably conditioned by the demo..thanks to Charlie Shaw..It also had “Modern Boys” on it.One thing I know for sure…the “personal” nature of a song is what hooks me..In the post-post-modern culture, the content is really the juicy bit which elevates creativity past fashionable taste towards the unattainable yet timeless evernew, and unexpected chops, dwindles, and elliptical investigations are useless drivel without content. I’ve always been partial to Elvis Costello’s bridge techniques a la “Get Happy”, “Imperial Bedroom” and “Trust”..They take the plurality of the Lennon-McCartney use of bridges(see “Two of Us”) and fuse it into one schizo perspective which makes for an honest unity and more tension can be peaked and released. But this is all content-based. If the form doesn’t srengthen the story, over time it feels mannered.“King Horse” and “Hi Fidelity” have that great take-off and landing of which you speak which give the rest of the song some legs..sexy,to a leglover eh? — Posted by George Terry
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