Lambchop is an enigma. It's a band that fits the definition of "cult favorite" as well as any, despite the fact that past and present label-mates on Merge Records define a large portion of the indie-rock canon -- Neutral Milk Hotel, Arcade Fire, Spoon, to name just a few. They've been around longer than any of these bands, and may outlast them as well.
Lambchop released its first record in 1994, and has maintained a consistent, shape-shifting output in the two-plus decades since. Initially shoved beneath the alt-country banner (they're genre-bending, with Americana touchpoints) they've shed that label over time and more properly defy classification. This is especially true of the band's latest release, FLOTUS, which centers the band's poetic, lounge-style sound around electronic elements for the first time.
Kurt Wagner is the center of Lambchop, guiding the group into uncharted territory as both bandleader and bard. And it was his experience with HeCTA -- an electronic/dance collaboration with fellow Lambchop members Ryan Norris and Scott Martin -- that foreshadowed Lambchop's most recent change of course.
In addition to the release of FLOTUS in 2016, Lambchop reissued its 2002 LP Is A Woman earlier this year. It's a still, observational record, built atop guitar and piano. Sitting next to the lightly pulsing, comparatively experimental FLOTUS, the reissue reminds us how deep and far Lambchop has voyaged over the past 15 years. I talked with Wagner on the phone from his home in Nashville, Tenn. The band kicks off a rare string of U.S. dates at Off Broadway on March 22.
CB: Lambchop's records tend to not take into consideration how the songs might be played live, so how do you go about taking something like FLOTUS and presenting it on-stage?
KW: Well, the interesting thing about FLOTUS, that we sort of discovered when we started thinking about performing it live, is that it's a pretty open-sounding record. It's a little sparse in a way, so it lends itself to a smaller presentation in terms of number of people. We're traveling with Andy Stack who's in Wye Oak, and he's a multi-tasking sort of musician, so he covers a lot of territory that helps fill it in. The rest of it is a trio of bass, piano, and myself.
CB: The instrumentation and arrangements on FLOTUS differ quite a bit from most of the Lambchop catalog. How do those songs feel when they sit alongside some of your older stuff?
KW: That's kind of the cool thing. Because of the openness of the presentation that we're doing, we'v found certain songs really work well in that way. In some ways, it's sort of taking the older songs and presenting them a little differently. I find that they actually work pretty well together. We're anxious to present as much of the new material as possible, but we have quite a bit of stuff. So, you know, we've found some things that seem to work really well. We've done 44 shows now with this setup, and it's really fun, it's really cool. I'm excited to do it in the U.S.
CB: Between FLOTUS and Mr. M you put out the first album by the HeCTA project. It seems like there was some bleed from that project into FLOTUS. Can make that connection a little bit more explicit for us?
KW: Mainly it was technological, learning the technology that was involved in the HeCTA project opened up a new way for me to write. I was learning about different software programs, and of course, in performing with HeCTA live, I learned about processing my vocal in a live way. Once that came about, I was able to apply that particular tool to the writing that I was doing. HeCTA is definitely a different type of thing, a thing where we wrote these songs together as 3 different artists coming together and bringing their [ideas] together. Lambchop is pretty much me sitting around coming up with the songs and then presenting them to the band. So I sort of found a new way of writing, and through that comes a new sound. But it's still Lampchop.
I used to just write singing and playing guitar onto a tape recorder, a cheap little dictaphone tape recorder. And once I started using these software programs and was able to edit and create stuff independently, then I was able to realize the songs a little bit fuller, and introduce a different way of presenting it to [the band]. It's still like, "Here's the song," but it's more realized, it has a fuller structure. The way I wrote most of FLOTUS was literally without a guitar at all. I just used a voice and computer software, and that was it, and I've never done that before. It was exciting; suddenly I'm not limited and constrained by my limited abilities as a guitar player. I can do whatever I can think of. Whatever comes out of my mouth, I can turn that into the sound of an organ, or something. It really freed me up to try different songs and structures and keys. I would never come up with the stuff on FLOTUS had I kept working the way I was doing. That's exciting and liberating.
CB: The new record and the shift in instrumentation and songwriting kind of begs the question of genre and how it relates to your band. What is Lambchop's relation to genre? Do you think the band seeks more to destroy it, or to ignore it?
KW: (Laughs) We just kind of go about our business. Unfortunately, I guess genre comes into play. People like yourself have to tell somebody what this music sounds like. In our case, I don't know, we just do what we do and it never seems to really fit any particular genre in a proper fashion. I don't think that's such a bad thing, it just makes for awkward conversation sometimes. If that means that we're sort of doing something unique...
CB: I was interviewing another musician recently and they were saying that they didn't think that 20 or 30 years ago people talked as much about genre as much as they do now, that somehow...
KW: (Laughs) Well, there were fewer genres. There was, like, rock and roll...
CB: ...but I think that, taking that idea a little bit further, if you go back to Lampchop 23 years ago, or whatever it's been, the music industry as a whole has changed a lot since then. It's been turned upside down. But from my perspective -- from the music-fan perspective -- it doesn't look like what you do, or the way you do it, have changed that much over that time.
KW: You know, it's probably true. We just plot alone in our own way. We just go about things in the way we always have. It's a fairly straightforward thing where we have remained independent of a lot of things. Obviously, we've worked with the same record label that we've worked with for over 20 years. We're just our own thing. We decide when to make a record, we pay for the record, we present it to the label: "Here you go!" We've sort of remained autonomous all these years. There are certain bands that function like that, but not many.
CB: I wanted to ask you specifically about the reissue of Is A Woman. What was it about that record that made it feel like it was worth revisiting?
KW: From the U.S. perspective, the big thing was it was never available on vinyl in this country. As a record in general, it was the record that followed up Nixon. Nixon was much more a record that was popular in the U.K. Is A Woman ended up being the one that was very popular across Europe. When you put that together, that solidified our world in Europe in general.
For me, it was a big record because started to create a sound that continues in some aspect to this day. Prior to that we were still sort of exploring how far we could go with the record-making, and how to make a record that was as technically and sonically as great as any big commercial release, and do it with a humble budget and facilities in Nashville. Is A Woman was really digging in and focusing on songs. It was also the introduction of the sound of piano in what we do. When Tony [Crow] joined the band, I pretty much designed the record around him, to feature the sound of piano, because it was something that had been rolling around my head for years. It was just that nobody in the band had played piano.
CB: As I was doing some research for this conversation, I read the Wikipedia article for Is A Woman. In the first sentence, it referenced "minimal instrumentation" but then included in the credits 19 musicians. I felt like that was Lambchop in a nutshell.
KW: It kind of was. It really sort of took, what at that point what had been a wonderful expression of a lot of people getting together and making a joyful noise together, and Is A Woman took the whole thing and made it coalesce into something that was pretty special.
Look at old photos of the Foggy Mountain Boys -- aka Lester Flatt and Earl Scruggs -- and you'll notice they used a single microphone on stage. You might assume Flatt and Scruggs were limited by the sound technology available in the 1950s. Until you notice that contemporary artists like the Foghorn Stringband and Del McCoury use the same single mic approach. So does the Colorado-based FY5, formerly Finnders & Youngberg, and it works out just fine for them. I spoke with FY5's Mike Finders recently about their upcoming April 7 show at Off Broadway.
Bill Motchan: One of the distinctive things about FY5 on stage is the single mic. How did you come up with that style?
Mike Finders: The way we mic ourselves up, the way we present ourselves sonically and visually, we always try to keep a balance, and one of those things is gathering around a single mic. It's a bluegrass tradition that goes back to the earliest days of Flatt and Scruggs and Bill Monroe. They would just lean into one mic.
In bluegrass music you're all focused on one thing at one time, because everybody has a shot of going up to the mic and being front and center, and the rest of us are playing a supportive role. There is something that is powerful about that one mic performance style that goes back as far as 1940.
The first time I saw the Del McCoury band, one of the pre-eminent bluegrass bands, they were going back to the single mic approach, and I couldn't believe it. It was in a theatre in Chicago, and I remember I walked back to the sound guy and verified it, I said, "Are you kidding! You have a 50-channel mixing board and you're only using one channel." Finders said he wanted to channel other classic bluegrass styles too because he and his bandmates were looking for a purity and clearness where the music looks and sounds like they are focused on one thing.
Bill: One of the things that come up often in reviews of FY5 is how well the band harmonizes. How does a band achieve that balance?
Mike: We're really proud of our band, and one of the things that we're most proud of is our longevity. We're in our eighth year together, the same five people. Five people focused on one goal for any length of time is always an achievement. And for us to be on this mission, the chemistry, our musical sensibilities, our varying degrees of risk-taking with our playing, we were all kind of aligned and we noticed that right away before we started thinking about the music that we were going to make.
We all had similar temperaments, similar visions of what we wanted to do, and before we even started making music, we enjoying being with each other, and that's one of the things when you're in a band, different than a local band, when you're trying to establish pockets of people you play for and build a fan base, you end up spending time in the van and having meals together than you do playing, so if you don't like each other, the music's hardly worth it.
Bill: What are some of the ways the band relaxes on the road or before gigs?
Mike: Hacky sack is one of the things we always do when we get out of the car (to stretch our legs) and Ryan Drickey and Rich Zimmerman -- our fiddle and mandolin players -- they both juggle. We're trying to figure out some kind of juggling routine they could do on the stage. We also all love good coffee, so wherever we're traveling, we try to find the best coffee, we all value good food, so whatever town we go through, we just know there's going be some kind of fast food option, but we try to find something organic or non-toxic, those are the lifestyle things we all have in common.
Bill: The name FY5 is a recent change from your original band name, Finders & Youngberg. Why did you make the change?
Mike: Rich and Ryan, the two guys that aren't named Finders or Youngberg, they have been just as integral to the band as the other members. "Finders and Youngberg" sounds like an accounting firm or something. Sometimes a band gets stuck with a name, and changing it was hard, too, because there's websites and search engines, and stuff. We wish it would have been FY5 from the beginning, But, we're going to stick with that for now. It looks better on a T-shirt, too.
Bill: Eat The Moon is FY5's most recent album and it's getting excellent reviews. No Depression called it "wholesome, traditional and brimming with ideas plucked from years gone by." What was the inspiration for the title song?
Mike: I do most of the writing. "She wants to eat the moon," this was about a girl I know and she said that to me while we were on a walk, and it really was similar to a lot of the other things about her that I observed while we were getting to know each other. Her drive in life was to experience things in a deeply tangible way, she stops and smells the roses, and if we're on a walk and we see wild grapes she'll want to stop and eat them, she wants to put her feet in the river, and she has this tangible thing, so the song was about having a such a lust for life that you would not only experience things but bring them in, so I just played with that image, and tied it back.
Bill: When FY5 played at the Sheldon in September 2015, you also led workshops at the KDHX Folk School. Do you enjoy getting to work with adults who are learning roots and bluegrass music in that type of setting?
Mike: Yes, Ryan Spearman asked us if we would give some lessons, and three of us are trained teachers. Bluegrass is easy music to teach because it's got so many rules. We teach at least two bluegrass camps a year mostly to adults. A lot of the people stopped singing around middle school because they're voices started to change and crack, and a lot of guys who feel like 'I never should have given it up, and I'd like an outlet,' so one of the things I love to do is work with adults and almost grant them permission to sing and play, and tell them, "Yes, you can be an artist!"
Bill: You said Finders & Youngberg sounded like an accounting firm. I don't think you would have been an accountant if you hadn't started a band. What might you have been?
Mike: A teacher. I had a teaching degree. It's telling stories, getting people together. When I write a song, I hope I'm writing in it in such a way that it moves people. I imagine I would be doing something involved with telling stories.
Note: FY5 is based in Ft. Collins, Colorado. The band members are Rich Zimmerman on mandolin, Ryan Drickey on fiddle, Erin Youngberg on stand-up bass, Aaron Youngberg on banjo and pedal steel. Mike Finders, the bandleader and guitarist, is an accomplished storyteller. He is a two-time winner of the Merlefest Chris Austin Songwriting Contest.
East Side Slim of Rhythm Highways had a chance to talk to Johnny Iguana of The Claudettes about recording their new unplugged EP 'Pull Closer to Me: Live in the Piano Room' and the expanded lineup in advance of the live full-band electric blues show at Off Broadway on Thursday, March 16.
East Side: You've had a three piece with The Claudettes before, two piece, three piece, kind of varied, and now you've expanded to a four piece.
Johnny Iguana: Yeah, we're going to limit it at four. Anything beyond four is just outright insanity, right? I mean we don't want to go to those kind of extreme lengths, but we started out as a duo -- piano and drums--and then added a singer and that made us a trio. We've continued to expand, we've got an additional singer who plays bass, so we've got piano, drums, bass, and vocals, but it's still really piano-forward. It's amazing how a band doubles in size when you not only have vocals but two vocalists singing in harmony all the way through. It just really, really expands things. I'm lucky to have two great singers whose voices blend so beautifully, and even though I'm kind of territorial about the bass lines -- playing them on piano -- Zach [Verdoorn] is such a great musician. He plays some guitar and some bass but when he plays bass he's not always doing the bass line. He might be doing a texture or figure along with what I'm doing, so it's wild! Those live sets are part instrumental part vocal songs and have kind of a Minutemen style of just pounding in sixty songs into a night or however much time we're allotted. All our songs are in the two- to three-minute range and there's no gratuitous solos all over the place. There are solos, but we kind of hit it and quit it with every song, flying fast and furious -- I think that pace makes for a really fun show.
ES: You mentioned the problem of a bass player riding over the piano player's lines and that was one of the very first things I thought when I heard the news, "They added a bass player? Oh man, they really don't need a bass player with your left hand going all the time," but once I saw the live performance, it works so very well.
JI: Yeah, Zach is also a really fine singer. I'm really, expressly, trying to write some songs for him now because when you have multiple singers -- it just keeps things moving, keeps things interesting, to mix up who's delivering the vocals, especially with different stories to tell.
ES: Could you go through the lineup?
JI: So Berit Ulseth is the other singer, and then Matt Torre is the drummer, and I'd also played with Matt in Chicago, he's from the Detroit area. Matt was actually the one that introduced me to Berit, who's just such a beautiful singer. She's from Minnesota and has been in Chicago for years. So none of us are from Chicago, we all met here. That's one of the great things about the city is you just meet musicians and people from all over the place; you get its own kind of melting pot.
ES: I was fortunate enough to catch this version of The Claudettes at a house concert here in St. Louis not too long ago.
JI: Yeah, in November.
ES: Yeah, and Berit's voice is just mesmerizing. She just kind of closes her eyes and it's like she's going someplace else and the guys are still all doing their thing around her. Hey, I know you've got a new album in the works coming up a little later this year. Care to talk about that with a little bit?
JI: Actually, our drummer Matt was the one who urged me to spend our winter filming some videos. He said, "Let's do some kind of acoustic videos right around your piano," because we had this one show we did in Connecticut at a festival where they lost power, and it was in an old field house and there was an acoustic piano, just an old upright against the wall, so we left the stage and went over there and played the last 40 minutes of our set with tambourine, singing and piano. The reaction we got was just so rapturous. It was more so I think than even when we'd been plugged in. Matt was saying, "How many bands that really just churn out the electric sounds can also just do a whole set around a piano, and one that sounds so good and gets such a great reaction?" So we decided to do a video series of acoustic, unplugged performances and we filmed them and posted them, then our label Yellow Dog Records -- who put out our first two albums -- asked if they could put out the audio as an EP introduction to the four-piece Claudettes, to cast a spotlight on the softer side, the intimate side. It even makes me think of old '50s and '60s records, like we should title it "The Other Side of The Claudettes."
ES: It does!
JI: Because the album that we have coming in the fall was produced by Black Keys producer Mark Neill who had gotten ahold of me, who had gotten hip to the band and really liked the piano approach to the band and wanted to record us -- so we went down to his studio in Georgia and recorded a really pretty crazy, really great, wild ride of an album that's going to be out later this year, kind of in anticipation of that electric album we have this acoustic EP that is up on the Yellow Dog Records website right now. It's seven songs, it's some of our own songs, kind of previews from the forthcoming album and all, our takes on some soul and pop and other songs that are on there.
ES: And I would say there are a couple surprises on there. I've listened to it several times over and am enjoying it very, very much. Now those new, live videos, are those going to be the only songs that are on the new album? Or will it also mix in some of your older material?
JI: There's a few covers on there too, a couple songs you've probably seen us do live. There's a Leslie Gore song and there's The Ikettes' debut "I'm Blue," and the version that we did was more like the Shangri-Las, which is really fun to do live. So those two, but otherwise it's all songs from the next album. Also a couple of them that we're going to post last are our instrumentals from our first two albums that now have been expanded to have bass guitar; they were recorded with just piano and drums. Kind of wild gonzo-blues piano drum songs.
ES: That's a pretty good description right there, and actually that was going to be the next direction I was going to go. I was going to ask you how you describe your sound on the new album and I say that because some of the material that your publicist gave to me, there's several pages, there's one page that's just all quotes and one that really struck me was from Eden Brent who said it has "all the sophistication of twenty-first century serious music with a hell of a sense of humor, most interesting piano album in my collection since Brubeck's Take 5," and that's coming from a person who is a heck of a piano player herself.
JI: I was thoroughly charmed by that.
ES: Yeah! That's pretty cool, and the fact that Mark Neill sought you out, right? Is that correct?
JI: Yeah, which was quite amazing because we were looking for a producer that we thought might bring other artistic flavors to the songs that we had written. It was really quite amazing that while I was contacting some other producers, Mark contacted me separately in an unrelated fashion. It was amazing timing because that was just exactly what we wanted to do was to ally with someone who was going to have their own outlook and their own take on the sound. And in fact, it was not all peaches and cream recording. When you have someone like Mark that's such a strong personality with strong principals of recording as well as arrangements -- he was unyielding in some ways and it made us squeeze out something that could please all of the above. It was quite a process.
ES: Yeah, I know from the description and the notes that I have. I wished there would have been a picture of him because your description of the man was pretty entertaining, so I am so looking forward to hearing this new album. You all doing your thing working with him and the combination of making something even greater than the sum of the already very, very nice parts.
JI: I should quickly read you the quote that Mark Neill sent me about the album. He wrote: "Haunted cabaret, David Lynch movie-music crossed with Allen Toussaint's driving piano sound. And sort of like when you're driving late at night in the South and two radio stations are coming in together and it's perfect. Like Otis Spann and Mark Sandman from Morphine sitting in with Keely Smith. I'm kind of riffing here but seriously nobody sounds like them, I love this new record, it's crazy good."
ES: I'm glad you read that because that struck me as well, I did want to touch on that. It kind of got lost in my mind here but I'm really glad you mentioned that one; that is so good, and it's apt and it's perfect. That is a very good description of The Claudettes sound right now.
JI: It's indicative of the sort of doom we're in because you're supposed to be one thing. That's what the music business is all about. Unfortunately for us we're real living, breathing, flexing human beings with lots of interests and passions and it all comes out as this new thing, and yet to me I think we have one sound and I think it's rooted in American roots and blues music, but it's certainly not slavish to the past or dead on arrival like so much of blues and roots music sometimes is when people are too timid to let their own personalities and eccentricities lead the way.
The Claudettes will be performing at Off Broadway on Thursday, March 16 with Tortuga opening.
With his easy smile, bushy beard and laid-back manner, Chris Robinson Brotherhood's Neal Casal looks like your friendly hippie next door. Humble as he may seem, Casal is easily one of the most impressive guitarists touring today. With an accomplished resume including stints in Ryan Adams' band The Cardinals, Phil Lesh & Friends and super group Hard Working Americans, as well as a dozen solo records to his name, Casal seems content to stand off to the side of the stage and either help his frontmen shine or completely outshine them, depending on how you see it. It's often the latter based on his mastery alone.
While he may not yet be a household name, Casal's skills have not gone unnoticed by those in the music world. In 2015, he was tapped to write and produce five hours of psychedelic instrumental jams to be played during the breaks at the historic "Fare Thee Well: Celebrating 50 Years of the Grateful Dead" concerts — an honor to say the least for the longtime fan.
As lead guitarist for CRB for the past six years, Casal is as vital a part of the Brotherhood as its namesake. If the band's fourth album, Any Way You Love, We Know How You Feel, and its companion EP, If You Lived Here, You'd Be Home By Now, are any indication, this cosmic musical bus is in high gear with no sign of slowing down any time soon.
The next installment of CRB's Betty's Blends live album series, Volume 3: Self-Rising, Southern Blends, is set for release on May 5, with tracks from the Southeastern leg of the band's 2015 tour, recorded and mixed live by legendary Grateful Dead engineer and archivist Betty Cantor-Jackson. It's also the first live album featuring the band's new drummer Tony Leone, who joins Robinson, Casal, keyboardist Adam MacDougall and bassist Jeff Hill.
CRB makes a stop in St. Louis on Sunday, April 2 to play the recently opened Delmar Hall for the first time. I chatted with Casal by phone in advance of the band's Spring Tour kickoff about CRBs journey, being schooled by Phil Lesh and his second career as a photographer, among other topics.
Amy: What has it been like to work with Betty Cantor-Jackson on the Betty's Blends series? How did that relationship come about?
Casal: That relationship came through Chris. He likes to honor the greats who have come before us and pay them the respect that they deserve, especially people like Betty, who are less known to music fans, but equally as important. Betty's recordings help us and she makes us sound great, of course, but the purpose is also to shed light on her career and work and the fact that, even though she's done all these legendary recordings since the '60s, she's still around now making beautiful recordings and still working at her craft that she's perfected over decades.
There's so much to be learned through Betty and we're all ears when she speaks. On a technical level, when we master the Betty's Blends records, I've often gone in and sat in on the mastering sessions, and I listen for her experience and try to pick up what I can from her because it's vital information and you can't get it through looking it up on the internet.
And through her, we've also gotten to know Kidd Candelario, who was a longtime Grateful Dead crew member and he makes all our cables for us; he makes our pedal boards too So we're working closely with a lot of these people that are still around and have so much knowledge to offer.
Amy: Any Way You Love, We Know How You Feel is I think the most complex and diverse CRB album in its styles and influences. How has the band evolved over the past six years with regards to songwriting?
Casal: We've evolved just by doing it; by sticking with it and never letting up for even a day. When the band started, there were some relationships and friendships there, but we were all very new to each other really. Chris and Adam had been in the Black Crowes together, but the rest of us had a long way to go to deepen our friendships, and it takes a few years to do that. So several hundred shows later, and a few records later, it took us a while to truly find our groove.
Chris and I have had a nice songwriting partnership right from day one, but even that had to evolve, and a few years in, we found ourselves in a deeper groove than when we started and the momentum has really helped us. Some bands peak early — their debut record will be their best and they're chasing that for the rest of their lives; but in the case of CRB, the opposite is coming true in that we're finding momentum as we go. Our first record was very good and a nice way to get started, but the best, amazingly, is yet to come with this bunch of old dogs.
Amy: I understand you recorded the album and EP in a unique home studio. That must have been quite a stimulating environment.
Casal: Yeah, there's a house high on a hill in Marin County that some friends of ours turned into a studio. It's a really amazing house that was built out of remnants of San Francisco bridges that were torn down. This guy had access to these materials and built with his own hands this house — literally built out of San Francisco — and it overlooks the Pacific Ocean. It's quite a scene. Some friends of mine turned the place into a recording studio and lots of bands are going there.
It's an amazingly creative atmosphere. The band loved it. Chris particularly found it very easy to write there. He can just take a walk around the grounds and stare into the woods with his notebook and come back an hour later with an incredible set of lyrics for a song we're working on. So it's great for him — great for all of us. We get to live there, live communally, make our meals there in the kitchen and sit down at the table together to eat, and right in the same space, we're recording. That really does inform the writing and the sound and the authenticity of the music.
Amy: I would imagine being self-produced allows for greater creative freedom as well.
Casal: It does if it's the right group of people. It can be a complete nightmare if it's the wrong combination of personalities. The lineup that we have now is really comprised of a bunch of producers, because we've all made our own records for so long. We all know what a good take sounds like. It's not a huge mystery. We've all been through many of those trials and we're all back at that simple place where it comes down to the question, "Is this good or bad?" And we can all reach a consensus on that very quickly. This group is able to self-produce.
Amy: Speaking of experience, you've played alongside some of the best musicians around, including Chris, Ryan Adams, Phil Lesh and the guys from Hard Working Americans, who are all very different from each other. What have you gained from that combined experience that's helped you be the player you are today?
Casal: As different as those groups and people are, there's so much commonality there as well. Whether it's Chris or Ryan or Todd or whomever I might be around, all of us in the music community, we're all after the same things. When it comes to being a songwriter, Ryan's and Todd's lyrical style is completely different, and Chris' too, but I can tell you what's the same about all those guys — you can find them every morning at their desk or a table or the lounge of the bus and they're grinding away at their notebooks, pressing their pens to the page as hard as they can digging for the next song. That's what I respond to. I'm just there to help them find that.
Amy: Growing up a Deadhead, it must have been a bit surreal to be asked to write and perform the break music for the "Fare Thee Well" anniversary shows. How did you even begin to tackle that daunting task?
Casal: Well, what was great about tackling that is that there wasn't much time to think about it. If I'd had more time to think about it — what's that Dylan line? "If I'd thought about it, I never would've done it; I guess I would've let it slide." That's completely true for me with the "Fare Thee Well" stuff. I got a call from my friend Justin [Kreutzmann] and I said yes, of course, and then I asked, "How much time have we got?" And he said, "None, really." So okay, we're making music for the visuals that will be on the screens on the side of the stage, so I asked, "Can I see the visuals?" And he said they weren't done yet; so I said, "We've got no time and I've got no visuals, what do you want me to do?" And Justin just said, "Go make some music that will make you feel good. Just imagine yourself being at the show and approach it from that perspective."
So I thought back to my days in the '80s at Grateful Dead and Jerry Garcia Band shows when I was a kid and imagined what kind of music I would want to hear if I was walking around before the band started and before the set break, and then I called some of my best musician friends that I thought would be right for it and we jumped into a studio very quickly and just improvised for two days. We just wrote everything on the spot and felt our way to something we thought people would enjoy and, much to our shock, people overwhelmingly liked it. The entire project and that music has had a much longer life than I ever thought it would. To be embraced by this Dead community the way we have — I can't even find words for the gratitude there.
Amy: You pulled it off remarkably well, considering.
Casal: We did our best to honor them with that music, but the idea was to do our own thing with it and improvise and do something weird and let the moment take you where it's going to take you. Let the music play you. We got a little of that magic with that music. Sometimes when you're torn out of your comfort zone, the best things happen.
So much of that, too, was the preparation we had by getting to play with Phil [Lesh] for the last few years. For Adam and I, that was a big deal because Phil taught us about improvisation and musical courage and being able to hang in there with a jam for more than a few minutes. Those guys were the masters — they'd hang in here for 15-20 minutes, and that takes incredible focus to do that convincingly. It really blew my mind when I played with him because I realized that a guy in his 70s could outlast any 30 year old. So we got our asses handed to us by Phil and it really was humbling, and I've been a dedicated student since I've been able to hang around that guy.
That connects to the CRB as well, because Chris takes that stuff very seriously. We are a band that plays two full sets every night. We don't mess around. It doesn't matter where we are — if we're in St. Louis at a small show or at a big festival, we're always trying to get there. We're a strange bunch that way. There's no day or show that we want to waste or phone in. It actually means something to us still. When Chris gets that smile going — it's not show business.
Amy: So, what's next?
Casal: We just made another record, actually, that will be released later this year with 10 new original songs. With that one, Any Way You Love, We Know How You Feel and If You Lived Here, You'd Be Home By Now, we'll have released 23 new songs in the past year and a half, which is pretty cool. Our rhythm section has changed a bit over the past year, but we're better than ever.
Amy: In addition to your music, you're also an accomplished photographer, and you have quite the Instagram following for your photos from the road. What do you love about the photography medium, especially as it relates to music?
Casal: Because it relates so well to music. I find myself in these situations that no other photographer can get to — no one can get the access I have; and I started thinking it would be a shame to waste that access and it would be very easy for me to have a guitar in one hand and a camera in the other. It broadens my artistic life and adds more to the overall picture.
I've always been a fan of photography. Jim Marshall is one of my heroes, and I got to meet him a couple times and I've met Henry Diltz. I just try to emulate those guys in a way. There's just something so inspiring when you see Jim Marshall's photos; the composition, that black and white look. It lights me up. So part of my artistic life is trying to make moments like that myself. And when you have people like Chris in front of you, you can't resist trying to make something of it.
It's also a nice thing to do with my days when I'm not playing, and the nicest things have happened from it. I never expected to have a book of photography, which I did. When I started taking pictures, I wasn't trying to land album covers or anything — I was just taking photos to do it. And then, like the Easy Tiger [Ryan Adams] album — the fact that one of my photos became a cover was incredible, and the fact that they've appeared in magazines and books and on records — wow, what a nice thing to add to my life.
Chris Robinson Brotherhood will play Delmar Hall on Sunday, April 2.
Gene Jackson will remember night of March 10, 2017 for the rest of his life. It is the date of his Beale on Broadway release party for his first album, 1963. It has been a long road for the well-known local soul singer but the wait has been worth it.
Gene, a 1979 Soldan graduate, started life in the Pruitt-Igoe projects with his mother, Mary Coleman, who loved to sing and did freelance work with Ike and Tina Turner, The Shirelles and others. She provided the R&B and soul influence while encouraging his interest in music by signing papers when he was 15 to enable him to play with bands. Back in those days he says he was "too shy to sing on stage," so he stuck to flute, congas and drums and limited his vocals to the Mt. Gideon church choir.
As a teen, Gene began a nine-year gig with Doc Terry, the house band at the Mary Moonlight Lounge on ML King, playing flute and congas while his friend Skeet Rodgers played the drums. Rodgers (Inner City Blues Band) eventually stepped out front as a singer which inspired Gene to did the same. He joined Power Play as a pop singer thirty years ago and added blues/soul to his catalogue when he joined Soul Reunion sixteen years ago. A decade ago, after losing his day job, he decided to make a go of it as a full time singer.
The only other time Gene recorded it was a music industry rip off story. In 1989 he recorded two singles. One, "The Night I Fell in Love," became a smash hit in England but he didn't know it. When he found out he discovered his name was spelled Jean and another person's picture was on the cover. He and his attorney daughter, Venus, are still chasing the royalties that were stolen from him.
It was trust and respect that brought Gene to Paul Niehaus and his Blue Lotus Studios. He was impressed with Niehaus and Kevin O'Connor's work as co-producers of Roland Johnson's 2016 CD, Imagine This, which was first original music release of Roland's career. Like Johnson, Jackson had covered others work for years but hearing that release convinced him it was time to do one of his own.
When Gene called Paul to see if they could do something similar his response came easily: "I said yes because I love his voice and emotional singing style." Once they began working together "it became clear," Gene says, "they were meant to make music together. He reminds me of my younger self." Their five-month effort with co-producer Kevin O'Connor, resulted in a deeply personal album about love, desire, marriage, joy, poverty and death that draws upon Jackson's life experience.
The 10 cuts selected for on 1963 came from the 15 they actually wrote. While soul flows through the album, Gene and Paul describe it as a "bit out of the box." Jackson says it has "the feel of the early movement 60's through the roughness of the 70's with each song in a different key." And, he loves the "icing on the cake" that Paul adds to the songs at the end of their creative process. Paul agrees citing one of the out of the box elements: "Some of the tracks have 'wall-of-sound' elements in their production style, which was really fun to make."
Their creative process begins by finding a groove/a feel for a song. From there Paul says, "I would write a song form to it, to get all the phrases and sections. Then I added guitar and keyboard parts, and bounce out a rough mix." Gene would then take the music and work out the melody and lyrics. There was plenty of give and take between Jackson, Niehaus and O'Connor. Jackson co-wrote seven of the songs with Niehaus; O'Connor, who played drums and handled the string arrangements, joined them in writing the other three.
In the case of "Ain't No Way," which also appeared on the new St. Louis Blues Society 16 in 16, Jackson had a melody in his head and Paul and Kevin turned into music. On "Son" it only took Paul playing a few chords for Gene to tell him, "I have it, the music speaks to me. I can write the words easily."
Other songs weren't as easy. Both say "Rag Doll," even thought it was the first song written, and "Voodoo Girl" were the toughest and last to be finished. The creole flavor of the latter "was a real change of beat and rhythm," Jackson says, "I had to get online and do a lot of research to understand what it is so I could find the right words."
The traces of Stax and Motown run through 1963. Listening to the opening chords on "That's Why I Love You," "1963," "Only God Can Help Us," "You're Gonna Get Hurt," and "Married at the Station" will make you think of other hits from those labels. The opening of "Love at First Sight" even echoes the Beatles. The icing on the cake Gene loves here is the "lushness and change of direction" that Paul achieves with the final elements he incorporates such as a conga drum, violins or orchestration.
Gene and Paul are pleased with the outcome. Paul is excited because "this album has one foot rooted in classic 60s soul and another reaching forward into the future." Gene says the message "is about life and I hope people get enjoyment from what I wrote." As a guy who grew up in Motown in the '60s, all I can say after listening to 1963 is well done, brothers, well done.
Click below for Bob Baugh's photos from the album release party.