Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Album of the Day 6/7/11

Every day, our 1000 best albums of all time countdown continues all the way to #1. Tuesday’s album is #602:

Knoxville Girls – In the Woodshed

Active from the late 90s through the early zeros, darkly swampy New York rockers Knoxville Girls inhabitated a stylized world of Jim Jarmusch noir Americana. With Dimestore Dance Band leader Jack Martin, former Cramp Kid Congo Powers and the Chrome Cranks’ Jerry Teel on guitars, Barry London on organ and original Sonic Youth drummer Bob Bert, they were the “the ultimate Lower East Side resume band” as one blog aptly billed them. As entertaining and occasionally menacing as their two studio albums are (In a Paper Suit, from 2004 is highly recommended), onstage they were an unstoppable beast. From 2000, this is their only live album, released only on vinyl and sold exclusively as tour merch. When Teel croons Warm and Tender Love, somehow it feels like just the opposite, a feeling that recurs on I Had a Dream and Charlie Feathers’ rockabilly standard Have You Ever. They take Ferlin Husky’s I Feel Better All Over to the next level, careen through the shuffling Armadillo Roadkill Blues, Kung Pow Chicken Scratch, the tongue-in-cheek One More Thing and the instrumental Sixty-Five Days Ago with an unhinged abandon that peaks in the sprawling, closing jam, Low Cut Apron/Sugar Fix. It doesn’t look like this has ever been digitized: try your local used vinyl joint. The band’s two studio albums are still available from In the Red.

Advertisements

June 7, 2011 Posted by | lists, Music, music, concert, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Concert Review from the Archives: Mary Lee Kortes, LJ Murphy, the Dog Show, Douce Gimlet, the Scholars and Steak at the C-Note, NYC 9/8/00

[Editor’s note -during our first year, when we found ourselves in a particularly slow week, we’d put up an article or two from the exhaustive archive we’d inherited a few months earlier from our predecessor e-zine. In those days we didn’t know how easy we had it.]

This was an ass-backwards night. By all rights, the opening act should have headlined, but acoustic acts tend to play here earlier in the evening. The later it gets, the louder it usually is here. Mary Lee’s Corvette frontwoman Mary Lee Kortes held the crowd rapt throughout her 45-minute solo acoustic set: you could have heard a pin drop. Plainly and simply, there is no better singer out there right now. Her favorite vocal device is to leap an octave or more, in a split second, always landing like a cat. Tonight she made it seem effortless, even if her songs, and her vocals, tend to be white-knuckle intense, her steely wail soaring over her subtle, judicious guitar playing. And there’s no better songwriter out there right now either. The songs she played tonight, a mix of concert favorites and new material, are striking in their craftsmanship. The French word for it is travaille, something Kortes would understand and probably agree with.

She opened with a quiet, almost skeletal version of the unreleased Redemption Day, radically different from the blazing riff-rock smash she plays with the band. Still, the anguished intensity of the lyric was undiminished. Later, she did several swinging, country-inflected songs from the band’s most recent, panstylistically brilliant album True Lovers of Adventure. She closed with Lost Art, a ballad from the album, that she sang a-capella, forgetting the words to the last verse for a second and then recovering, to the crowd’s clear delight. I haven’t seen an audience so riveted in a long time.

Another first-class songwriter, LJ Murphy followed. He’s also a band person at heart, although he’s been doing a weekly solo acoustic residency here for over a year now. Residencies can be a dangerous thing for a musician: they’ll wear out your crowd quickly. But there was a vocal contingent here tonight that clearly knows his material well, and he rewarded them by playing mostly requests. He cuts a striking figure with his immaculate black suit, porkpie hat and gravelly baritone. Like Kortes, many of his blues and soul-inflected songs have a stinging lyrical edge, including his minor-key opener, Geneva Conventional, a withering broadside about selling out. His best song of the night was St. James Hotel, a catchy, crescendoing tale of a drunk in a Times Square welfare hotel who hopes he’ll fall asleep “before this bottle’s empty.”

The Dog Show brought a small but enthusiastic crowd. Tonight was lead guitarist Jack Martin’s turn to shine. He plays pretty straightforward lead guitar in Knoxville Girls, but in this project he plays with a slide, and tonight saw him doing his best Mick Taylor impression, all scorching leads and wailing excursions to the uppermost reaches of the fretboard, giving a vintage, Stonesy edge to the band’s lyrical, Costello-esque songs. They wailed through the 6/8 blues Diamonds and Broken Glass (with a long guitar solo), the quietly excoriating Saturday Nights Are for Amateurs, the joyous, Latin-inflected Halcyon Days and a ska number called Back to the Mine which the backup singer (the frontman’s wife) punctuated with percussion on a cooking pan.

Douce Gimlet packed the place. They’re a kitchen-sink band: frontman/guitarist Ben Plummer can literally write anything. Tonight they did a mix of silly instrumentals that could be tv show themes, a handful of aching country ballads (Plummer excels at these) and their best song, a haunting janglerock number called Destitute. This band is a magnet for talent: Martin joined them on slide, Dog Show frontman Jerome O’Brien is the bass player, and they have Moisturizer frontwoman Moist Paula Henderson on baritone sax. She and Plummer began and ended the show with a New Orleans-style march on which he joined her on saxophone, walking up to the stage to begin the set, and then, at the end, the two somehow made way to the door through the throngs of people as the rhythm section kept playing onstage. The crowd roared for more but the club wouldn’t let them do an encore.

The Lower East Side bands that play here are a closeknit scene, many of them sharing members. The Scholars’ drummer had already played a tight set with the Dog Show, and held down a slow, smoldering groove with this electric Neil Young-inflected quartet. They had a guest cellist, who played haunting washes that fit in perfectly with this band’s dark, glimmering, rain-drenched Pacific Northwest gothic vibe. Finally, after their set, the crowd started to trickle out and I wasn’t far behind. Steak, which is Jack Grace’s Denver jam band relocated to New York, have a very Little Feat sound: lots of improvisation (Grace is a terrific guitarist who blends country with jazz licks on his big Gibson hollowbody), and the band swings. But they drove me out of the club when the rhythm guitarist started bellowing “Steve McQueen” over and over again while the band turned it up as loud as they could behind him. But all in all, a rewarding evening for anyone (and there were a few) who’d had the stamina (or alcohol tolerance) to stick around for the whole night.

[postscript: Mary Lee’s Corvette continues to record and tour, with a cameo in the film Happy Hour. LJ Murphy’s solo residency at the C-Note ended later that year – since then he’s been recording and playing with his band. The Dog Show hung it up in 2007, although frontman Jerome O’Brien remains active in music. Douce Gimlet broke up in 2002; their frontman died under suspicious circumstances shortly thereafter, although no one was ever charged in his death. Scholars frontman Whiting Tennis still records and will from time to time play a live show with the Scholars, although in recent years his focus has been mainly on his critically acclaimed, hauntingly intense visual art. While Steak is for all intents and purposes defunct, Jack Grace continues to enjoy a successful career as a country bandleader and booking agent]

September 8, 2007 Posted by | concert, Live Events, Music, music, concert, New York City, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Album Review: Sousalves – Spirit of NYC Woman

Incendiary, twisted, quintessentially New York rock from one of its better guitar-wielding denizens. Paul Alves AKA Sousalves plays all the instruments here except the drums, slashing and scratching out a wired, distorted, strung-out concoction that sometimes eerily resembles legendary French rockers Noir Desir (whose frontman Bertrand Cantat murdered his girlfriend in a coke-fueled rage). There’s some vintage Gun Club somewhere in there, too, it seems. Sousalves likes minor keys, percussive riffs where the guitar doubles the rhythm of the drums, and the occasional evil chromatic hook. The whole album has a hallucinatory, 5 AM, out-too-late, out-of-control feel. It opens with a dirty instrumental passage that segues into Silver Shoes, which could be Noir Desir…or could be early Midnight Oil, from the days when they were a metal band. The cd’s title track features another notable Lower East Side denizen, Deborah Sassiver, playing Nico to Sousalves’ Lou here, adding layers of eerie,watery vocals to this cut and several others as well. The album’s next cut Passin Thru begins with a tinkling arpeggio played on what sounds like a koto, building to a titanic yet impressively terse, feedback-infused guitar solo before fading back to quiet again. The following track Tail Another Chase is as predictably warped as the title would imply, driven by a pounding chromatic riff. After that, Making It Happen takes it down a notch for a couple of minutes before reverting to the percussive fire of the rest of the album.

There’s ostensibly a video of Sousalves playing a live acoustic version of the next cut, Dance Tango, circulating on the internet somewhere: that’s a good thing, because this electric version strangely doesn’t have the hypnotic intensity of the unplugged take. The next song Painted It Black appeared on Sousalves’ previous ep …To Self and sounds something like what the Red Hot Chili Peppers would have done if they weren’t so interested in being rock stars. The highlight of the album, End of Your Rainbow reverts to a scorched-earth, nouveau Noir Desir fury, the odd tempo and ascending progression of the bridge exploding into its killer chorus. Sousalves closes the cd with a couple of hypnotic tracks, Waiting to Kiss You For Days which builds to a Jefferson Airplane-esque funk groove, and the quieter Meridians, with its neat trick ending. It’s a cliché but they really don’t make rock like this much anymore: fans of late great bands like the Chrome Cranks, Honeymoon Killers and Knoxville Girls will love this. Caveat – this album won’t really sound good unless you play it loud.

Sousalves plays the cd release for this album at Midway (the old Guernica space) at 10 PM on Tues May 1.

May 1, 2007 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , | 2 Comments