Concert Review: The Jack Grace Band at Rodeo Bar, NYC 5/5/10

The first thing you notice when you see the Jack Grace Band up close is what a well-oiled machine they are – in both senses of the word. OK, maybe not everyone onstage last night was half in the bag, but they’d been on close to a 36-hour tear, nonstop, with appearances on the WPIX morning show and then a live performance on satellite radio, so with a long Cinco de Mayo evening ahead of them at Rodeo Bar, the tequila was flowing and a lot of it had made it to the stage by the time they started playing. The Jack Grace Band’s new album Drinking Songs for Lovers is just out, so ultimately it all made sense. “Everything seems so simple after three martinis” is Grace’s mantra, and the band played that song, a careening version of The Lonesome Entertainer, on album a noir-ish blues shuffle a la Tom Waits but this time out it was more Grateful Dead, except with a brief interlude into a perfectly executed, funky excerpt from Kurtis Blow’s The Breaks. Tequila, an older song from Jack Grace’s old jam band Steak, swung mightily along on a sunbaked minor-key hook, part bossa nova, part hallucinatory Tex-Mex anthem.

Jack [scrunching his face into a tortured scowl]: Would you rather be dead?
Bass player Daria Grace: [completely deadpan]: No.

It’s kind of sweet how he gives his wife the best of the punch lines every time. They’d started, appropriately, with Morning Margaritas, the twangy, retro 60s country song that opens the album, everybody from the horn section to the pedal steel player stepping out, boisterous and tequila-fueled, so the sound guy could get the levels right. Daria swooped and dove on her gorgeous hollowbody bass on a more 70s, outlaw country style tune from the album, True Tonight. They jammed on Jambalaya, took a stab at the Mexican Hat Dance (Jack wanted to keep going but the band wouldn’t let him), then piano player Bill Malchow sang one. At the end, Jack put his guitar down and the piano and rhythm section playing a pretty generic power ballad melody. Which morphed into the early 70s Neil Diamond hit I Am, I Said. Jack got up on a chair, pondered the highly vandalized stuffed bison head coming out of the wall at the edge of the stage and then decided against doing something to it (that’s a prop for another song of his). Then when he got to the line in the song where no one heard him, not even the chair, he got off the chair and raised it high. And then went into the audience, caught a table full of diners completely off guard, sat down with them and then serenaded them. With the chair. Meanwhile, the band didn’t blink an eyelash. Pretty punk rock for a country band. And that was just the first set.

The Jack Grace Band continues to celebrate the release of the new album with shows at Hill Country tonight at 9, Barbes at 10 tomorrow (Friday the 7th), and a doublebill with the equally devious Luther Wright and the Wrongs at the Rodeo on the 11th.

Advertisement

CD Review: The Jack Grace Band – Drinking Songs for Lovers

It’s surprising that nobody’s done this yet, and it’s a good thing that the Jack Grace Band did it instead of, say, Jimmy Buffett. The country crooner’s new album Drinking Songs for Lovers is party music for smart people, and it’s definitely the funnest album of the year so far. For Grace, whose previous album The Martini Cowboy was surprisingly dark and serious, most of this is a defiantly unapologetic return to the party vibe of his 2005 cd I Like It Wrong, but with more swing. Credit his better half, bass player Daria Grace, for joining in on a groove with their jazzy drummer Russ Meissner. Jack handles most of the guitar work, with Mike Neer on lapsteel, Bill Malchow on keys and longtime Johnny Cash pianist Earl Poole Ball guesting on a couple of tracks.

The songs portray a wide variety of of drunks – the crazy neighborhood guy you run into at the bodega on a beer run right before four AM, the guys at OTB, the serious dude who watches his roommate drink himself into a dangerous state. These guys treat drinking as a serious business, a necessary alternative to some unthinkable alternate universe. Hangovers are a big part of it, an occupational hazard: it’s a tough job and somebody’s got to do it. Starting first thing with Morning Margaritas, a bracingly Tex-Mex way to kick off the album, featuring the Broken Mariachi Horns (J. Walter Hawkes on trombone and Rob Henke on trumpet). If You’re Gonna Raise a Drunk is one of those songs that needed to be writtten – beyond offering some useful tips, it manages to stick in a litany of favorite drinks and favorite places to drink them. I Drank Too Much Again vividly captures the grim aftermath – the headache pounding behind the late afternoon sunglasses is visceral. Drinkin’ and Gamblin’ is a surprisingly hard-rocking minor key banjo tune; a rapidfire honkytonk lesson in trucker lingo, The Worst Truck Driver in the World is a teens update on the 1976 C.W. McCall rig-rock classic Convoy minus all the CB radio references.

Jack Grace’s baritone is one of the most soulful voices in New York music, but the best vocals here actually belong to Daria, perhaps singing the apprehensive minor-key blues Drank Yourself into a Corner while Jack was on a beer run. Drink a Little Hooch is the album’s second tribute to drunken gamblers: “Is there something I’ve been missing out on?” the perplexed narrator wants to know. The album winds up with the surreal, heavily hungover-sounding, Tom Waits-ish Haven’t Had a Birthday Now for Years, the blazing lapsteel rocker So Ugly, a merengue number (the guy at the bodega, remember?) called It Was a Really Bad Year and a depressive, authentically retro 60s style country ballad that recalls Jack’s previous albums.

This cd isn’t for everyone. Country music fans will love it, as will drinkers of most every stripe. Serious-minded folks might object to how cavalierly and completely nonjudgmentally chronic alcoholism is portrayed here, but fuck them. They’re no fun. The Jack Grace Band will be at SXSW for a bunch of gigs including a show on March 19 at 4:30 PM at the Saxon Pub with Earl Poole Ball from Johnny Cash’s band on piano. Their next NYC show is April 2 at 10 PM at Barbes.

Song of the Day 6/3/09

Every day, our top 666 songs of alltime countdown gets one step closer to #1. Wednesday’s song is #420:

Jack Grace – Let Your Mind Do the Talking

The charismatic New York country singer’s finest and darkest hour as a songwriter. This is a haunting, somewhat epic minor-key anthem about a guy out in the sticks somewhere slowly and inexorably losing it. There’s a rough mix on Grace’s Staying Out All Night cd, as well as a live bootleg or two kicking around: in the years when he was a regular in the band, the late Drew Glackin would play lapsteel on this one, bringing the intensity to redline with his fiery solos.

The Jack Grace Band Live at Rodeo Bar, NYC 4/6/06

The Jack Grace Band is at Rodeo Bar every Sunday this month at about 9:15, and this is a residency you should see. As the Dog Show said, Saturday nights are for amateurs, so it follows that Sundays are for the pros. Seeing the baritone country crooner/guitarist and his cohorts onstage with such a small crowd in the house was bizarre: in fact, being able to see everybody in the band without standing on tiptoe behind a bunch of people was weird. But good. This residency is born of tragedy: Grace is trying to put together a new sound without the services of his longtime lead player, lapsteel genius Drew Glackin, whose sudden, unexpected death at a young age last January caught everyone he played with (and that’s a LOT of New York musicians) completely off guard. But Grace is an excellent lead guitarist, with a terse, incisive, bluesy style, and armed with his new Telecaster, he let loose a lot of searing, even raging solos, getting the new axe to scream like his trusty old hollowbody Gibson can’t. It’s clear that this is somebody who’s still furious about losing his good friend and bandmate (Glackin had a rare thyroid condition that, if he’d had health insurance, would almost surely have been diagnosed long before it killed him). Although the anger doesn’t make it into Grace’s voice: his smooth, soulful delivery was as sly as ever, as he and the band kicked off the set with a new song, the swinging drunk-driving anthem The Worst Truck Driver in the World, a dead ringer for Junior Brown at his most entertaining.

Grace didn’t have his usual bassist, his wife Daria with him onstage tonight, but the sub guy held up his end admirably (drummer Russ Meissner, a jazzcat playing country music, made it easy). Piano player Bill Malchow added a New Orleans blues feel, especially on the darker, minor-key, somewhat Tom Waits-inflected numbers, and sang in a Dr. John-style N’awlins drawl when Grace gave him a lead vocal.

The band mixed upbeat party anthems including This Hangover Ain’t Mine and 7:30 in the Afternoon (a wise, knowing guide to how to kick a really bad hangover: sleep!) with several eerie, bluesy tunes including Kick off Your Shoes Moonshine, an older song that Grace has yet to record. Grace’s lyrics are craftsmanlike and imbued with great wit. He knows that the best country music is anything but unsophisticated: in the pre-rock era, if you wanted really good lyrics, you either had to listen to blues or “hillbilly music.” This sophistication came to the forefront on the dark, haunting, minor-key Cry, from Grace’s most recent album The Martini Cowboy, which begins as the blissed-out, wired narrator offers a girl coke, knowing fully well that the blow will only keep the angst away for so long.

Late in their first set, they segued out of a song into a long, meandering, somewhat swampy interlude that could have been vintage Little Feat. And then they played (Let Your) Mind Do the Talking. It’s Grace’s best song, a haunting, backbeat-driven blues tune about a drunk slowly losing it, and his version tonight was nothing short of transcendent. “I got a dream for a dog but it always needs walking/When you’ve got nothing to lose you let your mind do the talking,” Grace intoned ominously, building to a crescendo at the end with a screaming, noisy guitar solo while the piano and drums pounded out the beat. Grace and his band have a pretty Herculean live schedule, so you always have several chances a month to see them, but if this residency is anything like tonight’s show, it could be something special.

By the way, in case there are any deep-fried pickle enthusiasts out there, Rodeo Bar is one of the few places in town (other than, say, some stand at the San Gennaro festival) that sells them. They come with a sour cream and onion dipping sauce – and if you ask, the waiter will bring you some freshly chopped jalapenos as well – and are enthusiastically recommended.

In Memoriam: Drew Glackin

Multi-instrumentalist Drew Glackin, one of New York’s greatest, most sought-after and best-loved musicians died yesterday of cardiac arrest after collapsing in a hospital emergency room on January 3.

Glackin played virtually every fretted instrument ever invented, and also played keyboards. He could channel any emotion a song called for with fluency, fire and soul, serving as the bass player in the Silos and also as the lapsteel player in the Jack Grace Band. In between those two demanding gigs, he somehow found time to play or record with innumerable other bands and artists including Tandy, Susan Tedeschi, Graham Parker, the Hold Steady, Maynard & the Musties, the Oxygen Ponies, Willard Grant Conspiracy, Mary McBride, the Crash Test Dummies and countless others.

As a bassist, Glackin propelled the Silos and others with a fat groove and uncommonly melodic style. As a guitarist, dobro, steel and mandolin player, he matched passion with restraint. Although gifted with blazing speed and exceptional technique, he never wasted notes. For that reason, he was constantly in demand. Offstage, his dry wit and down-to-earth personality earned him as many friends as his playing did. The New York music scene has suffered a great loss.

Concert Review: Melomane at Hank’s Saloon, Brooklyn NY 6/7/07

Living proof that epic grandeur can be synonymous with great fun. This well-established New York art-rock unit is part eerie 60s garage band, part meticulously orchestrated symphonic rock. As much as it was a little incongruous seeing them in these surroundings – Hank’s is a wonderfully inexpensive, friendly, old-school place that usually features country music – it was a blissfully good show. They bookended the set with a cover of the old Lou Reed chestnut We’re Going to Have a Real Good Time Together, the only song on which the band lacked tightness, and in fact the only really lighthearted moment of the night. Melomane translates loosely from the French as “passion for fun,” and there was no lack of either, although since 9/11 they’ve become a very dark band with a remarkable political awareness, even for an age where pretty much everybody is united against Bush & Corp. Foremost among the songs they played tonight were a trio from their ongoing “disaster song cycle,” as frontman/lead guitarist Pierre de Gaillande put it. One of them was a bouncy pop song about the Vesuvius eruption that essentially cast the Romans as a bunch of fascists. Another was about a meteorite. Their global warming song, possibly titled This Celestial Orb was the best of the bunch, a gorgeous, minor-key number that began with de Gaillande’s guitar playing fast, biting broken chords while keyboardist Frank Heer did the same. It built to a haunting chorus, “gravity reverses and the sea and sky trade places.” After a spur-of-the-moment interlude in 7/8 time, they tacked on a sarcastic, poppy finale with a tricky false ending that caught the audience completely off guard.

This is a talented group of musicians. Heer doubled on lead guitar, and at the end of a slowly unwinding, overtly political number, played a perfect dual guitar solo with Gaillande. To their credit, it sounded absolutely nothing like Hotel California. Keyboardist Quentin Jennings played haunting cello on several numbers. It was also good to see nimble, inventive bass player Daria Grace (also of the Jack Grace Band and the Prewar Ponies) singing harmonies again. There was a time when she’d pushed her voice too far, and it took a long time to come back. The good news is that it’s back and as bright as ever.

The biggest hit with the audience was a request, Going Places, a spot-on parody of trendoids:

Let’s get stressed out to impress and then let’s go out
You have the best high-fashion bedhead to go with your sleepy mind
And if the night should segregate us you go your way and I’ll go mine

The song went doublespeed after the second verse and by the time they wound it up, it was completely punked out, Gaillande screamingly hoarsely.

Otherwise, the band displayed a welcome gravitas, most powerfully evoked with the two keyboards going at once. They’re playing mostly in minor keys, and Gaillande has become an excellent lead guitarist. Melomane’s show tonight was a reminder yet again of the uncontestable fact that the most transcendent, powerful moments of live music in New York aren’t found at Madison Square Garden or Irving Plaza or for that matter even the Annex. The good stuff, the really great stuff is happening at cozy little neighborhood joints like Hank’s.

CD Review: The Jack Grace Band – The Martini Cowboy

The Jack Grace Band have been sort of the opening act du jour on the country circuit, opening for Merle and Willie Nelson and Jerry Lee, et al.. If this is an attempt to get some notice from the retro country crowd, it ought to work. Hell, this ought to get them on the Grand Old Opry, if they don’t mind songs about cocaine at the Ryman Auditorium.

The Jack Grace Band’s last album I Like It Wrong put in some serious overtime on some of the better jukeboxes across the counry. In fact, you could say that it was the party album of the summer of 2004. Suffused in booze and tested live on crowds of drunks in dives all over town, those songs were every smart party animal’s alternative to Jimmy Buffett. It may therefore come as some surprise that the new album by the Jack Grace Band is an attempt to – gasp – make a serious record. I say record because the cd is divided into a distinct side 1 and side 2. A concept album, no less, complete with little instrumental fragments separating the songs, and something of a central, unifying theme. The most surprising thing about it is that it actually works. Tight, focused, thoughtfully conceived, in other words, everything Grace’s previous work was NOT. Which ironically was always his saving grace – the band may have been a little loose, the whiskey may have run rivers but you always knew that if you went to see these guys live you would have a good time. While it doesn’t look like anybody left the bar for very long to make this album, it’s a hundred eighty degrees from what you might expect after hearing the last one. Is it possible that Grace has actually matured?

The Martini Cowboy is packed with haunting, gorgeously old-fashioned, 1960s style country songs with tasteful electric guitar, soaring pedal steel, piano and a rhythm section that swings like the dickens. You can dance to this stuff more than you can Grace’s older stuff. Because ultimately that’s why honkytonks exist: where else can you squeeze your cheatin’ lover against the jukebox and sway to the strains of Merle Haggard? Who happens to be exactly who the first song, the album’s title track, evokes. Straight up. When he’s on top of his game Jack Grace’s songs sound like country classics from 40 or 50 years ago. The cd’s second song, Broken Man continues in a purist vein, driven by Jon Dryden’s beautiful, incisively minimal honkytonk piano “I’m not gonna go out there tonight,” swears the Martini Cowboy. He’s been burned too many times. Which leads perfectly into the next song, Cry, a sexy bossa beat and groovalicious bass player Daria Grace’s bop-bop backing vocals only momentarily distracting from its eerie minor-key drive and bitter lyrics. When after a surprisingly jaunty, jazzy guitar solo the thing stumbles out of its groove and literally falls apart, the effect is nothing short of heartbreaking.

The album’s next track Trying to Get Away from Nothing at All zooms in on our protagonist trying to pull himself away from the brink. It’s a showcase for Jack Grace’s voice, a big, Johnny Cash style baritone that can handle the over-the-top whiskey-drinking anthems and the dark, disturbing ballads with equal aplomb.

After that song, we get Sugarbear, another minor-key Waits-esque number with ambient steel guitar, and Rotary Phone, arguably the album’s best song , a haunting, skeletal minor-key blues: “Let me tell a story about the way it used to be/With a rotary phone don’t leave a message for me/You’re gonna be an old man too…”

The last song of the “A side”, What I Drink and Who I Meet at the Track (Is My Business) is completely self-explanatory – it’s one of those songs that someone should have written long ago, and that it took this long before someone did is a mystery. It’s a good thing that it was this guy who wrote it and not Neil Sedaka. I mean, can you imagine Neil Sedaka at the track? No, you can’t. He’d get killed before he got to the stands.

The “B side” begins with Uncle Luther. By now, the Martini Cowboy has fallen in love. His Uncle Luther is moving back to the shack he hasn’t lived in for ten years and the Martini Cowboy has to get out. But that’s not what’s bugging him. It’s that he can’t stop thinking about her. Yeah, her, and it scares the hell out of him. The following tune, Verge of Happiness is so George Jones it’s not funny, in fact it’s scary, right down to the vocals. Nobody ever did desperate, lost love songs better than Jones, anyway, so it makes sense. Happy in the Fall continues in the No Show Jones vein “I’m happy in the fall, but I don’t like the landing,” Grace muses ruefully as the band swings behind him. The album’s climactic track, Something to Look Forward To – where the guy finally gets the girl – is a bit of a letdown. Like at the end of Siddhartha when the guy finally gets to India and all he finds is…OMMMMM (hey, this is a serious album, I’m trying to be serious about this).The cd concludes with a real old-timey number called Spike Down, which sounds like an electrified version of some obscure 19th century folk blues.

There’s not a weak song on this album – which is more impressive than you think. Hell, even Sergeant Pepper had that stupid phony raga tune that Harrison sang. And Merle Haggard’s greatest hits albums all seem to have those horrid pro-Vietnam War ditties he did before he woke up and smelled the coffee. So the Martini Cowboy’s in pretty good company. If this doesn’t get him the big record deal (memo to the band – WATCH YOUR BACK), Jack Grace can always fall back on his side project Van Hayride, which plays country covers of Van Halen songs. I’m not making this up. Not a word.