Dec 282009
 

Alright, I know this is a bit obvious–I mean, shouldn’t I be profiling bands nobody knows about?–but the fact is, my hometown is doing pretty good in the music scene these days. In the past few years, Denver has produced a number of bands that have gained national attention–including The Fray, 3Oh!3, OneRepublic and a few others. If some of you who aren’t from Denver haven’t yet heard of The Flobots, you probably will soon. And I’ve got my eye on a few others I think will draw national attention in the next few years.

That said…Meese is a band just now getting its share of the spotlight with a musical blend of guitar-driven rock, electronic programming and piano pop. They released their first national recording Broadcast on Atlantic Records this past summer, and have been touring to promote it. They’ve had a few things go their way in getting this far–including being friends with The Fray (who ironically used to open shows for Patrick Meese’s previous band before hitting it big) and getting some major plugs from local radio stations here. And they got a huge boost last summer when the author of the Twilight books, Stephanie Meyer, discovered the band playing her favorite song was Meese, and made a big deal about it.

Actually, Meese’s relationship with The Fray (and other local bands) is of particular interest to me, because I see a pretty cool sense of community happening with the local musicians here. A lot of these guys and girls have played together, not just on the same stages, but swapping musicians between bands. I’ve talked to a few other bands and artists, and they tell me that the tendency is to affirm and support one another, rather than compete. The Fray opens for Patrick Meese’s band; then The Fray gets signed; then they invite Meese to open for them! I love stuff like that, and it’s that kind of openness and support that breeds creativity. And I think it’s part of why Denver is becoming a musical force to be reckoned with.

I like Meese’s melodies and their sound, and I think the single “Next In Line” is very catchy.
YouTube won’t let me embed it, but I’ve put a link below to one version of the video, and you can also sample the record below.

http://www.youtube.com/watch?v=hZuQ6FCZNZI

Meese - Broadcast

Dec 222009
 

Yesterday I posted this piece on Examiner.com about Jay Ryan’s Big-Top Open Stage, held each Monday night at the D-note here in Arvada. I won’t reiterate here–just go read it if you want–but I will say that one thing that impressed me in my conversation with Jay is his passion for making room, for giving artists a hand up.

For Jay, something compels him to put on a crazy coat and hat and make a huge deal about each person that gets on the open stage and tries to make a go of it; and that drive is his desire to see people make it. Jay sees it as a community–a place where musicians learn from one another and grow from interaction. And where he feels it’s appropriate, he offers advice and challenges some of his regulars to stretch themselves. He’s more than a ringmaster–he’s a cheerleader, and sometimes a coach.

This part of Jay’s passion resonates with me because I feel the same way. When I hear a band or an artist with promise and potential, it makes me want to give them a path, to advise, to counsel, to coach (as if I totally know what I’m doing). I just want to do what I can to help them make it; I start pulling for them. I heard a bit of this in the way Jay talked about the musicians that come to his open stage.

I think there’s a bit of a stigma about open stages where people who think they can sing get on the stage and annoy the people who just came in for pizza or a beer. Admittedly, an open stage isn’t the same as going to a ticketed concert, and the people who get up there have a wide range of skill (or lack of it). But I’ve been visiting the D-note open stage for awhile now, and I’ve found out a couple of things in the process:

  1. Sometimes the most important thing is not how good the person playing happens to be. Sometimes it’s just the joy of doing the music thing. As a musician myself, I get a lot of pleasure out of making music. When I see someone else sharing in that joy, it doesn’t really matter in that moment if they sing every note on pitch. I get a kick out of seeing the joy. And sometimes you see that element more on an open stage than in a professional event–because the people on the stage aren’t taking it for granted.
  2. The open stage isn’t just for amateurs. Sometimes a real diamond in the rough comes along, someone with a lot of potential–like Brookefield H., who’s been mentioned here before, and whom Jay mentioned by name as one of the most promising regulars currently visiting the stage. Sometimes you hear a real gem before anyone else gets to, and you get to watch them rise to the top. (Lots of musicians with record deals started on open stages.) And every once in awhile, a seasoned pro will make a surprise visit to an open stage, perhaps to test out some new material. Every night is different, and you just don’t know until you go.

So if you live in Denver and haven’t ever been to the D-note on Monday nights…it’s worth it to come out a couple of times and check it out, or go visit one of the other many open stages that happen in Denver each week. And if you live somewhere else, and you find a club that has an open stage…go there, at least once or twice. Go and listen, or get up there yourself. You might be surprised by the experience.

Dec 152009
 

Yeah, it’s an end-of-year thing, and lots of people are doing it. Naming their favorite this or that. Naming their favorite albums of 2009. All that stuff.

The problem is, this blog is new. Too new to have gone through a whole year. And since we’re still getting to know each other, I thought I’d just generalize and try to nail down my top five albums…ever. These aren’t just my personal faves, or the ones I listen to the most. I’d say it’s more like looking over time, these are five records that have influenced me most.

I like too much music, so it’s hard enough to pick five records; so that’s as far as it goes. I’m not ranking them 1 to 5–they are in random order here:

The Joshua Tree by U2

You know something is a classic when the songs still seem current over 20 years later. This was where U2 hit the top of their game, and they’ve pretty much stayed there. (Yes…even after No Line on the Horizon.) It’s more than just the sound; it’s the passion. And as far as frontmen go…stage presence, audience connection, all that…I measure all frontmen against Bono. He’s the ultimate.

At Folsom Prison by Johnny Cash

I cut my teeth on this record. (Well, actually, I already had my teeth by then–but you get the idea.) When I was three, I earned a free beer for my Mom by singing Johnny Cash songs to the jukebox in the pizza joint. I would tell people I was Johnny Cash. Even then, this record represented to me the ultimate of who Johnny Cash was. I didn’t know about the drugs; I didn’t know what drugs were–and anyway, he was on the upswing when he made this record. Years later, watching Walk the Line (one of my Top Five Movies), the significance of Johnny Cash making a live recording in a prison was driven home to me, and it revived my respect for this record.

For Him Who Has Ears to Hear by Keith Green

This is one I don’t expect everyone to know–because it was a Christian record made at the heart of the Jesus Movement. But for me, as a kid, it was the first time I’d heard Christian music that wasn’t an organ in a church–and not only that, but this long-haired, beared hippie-looking guy pounded the piano like it was the drums–and it was so cool. I was just learning piano, and Keith Green forever affected my playing style–much to the chagrin of every piano teacher I ever had.

The Beautiful Letdown by Switchfoot

A more recent one, but there’s an honesty and passion in this record that just hit at a key moment in my life. I just related…especially to the ballads.

Rachmaninov: Piano Concerto No. 2/ Rhapsody On A Theme Of Paganini by Earl Wild, pianist

All right, so I’m a geek. Actually…I was trained classically on piano and was a composition major in college. As a “tween” I got to see pianist Earl Wild play Rachmaninoff’s Piano Concerto No. 2 live, and it was a “forever” moment for me. Not only to see someone play something so complex and make it look so easy…but to this day I think Rachmaninoff’s melodies are among the most beautiful in history. I got the record shortly after seeing the concert, and wore. it. out. I don’t think that version is in print anymore, but the link above is for a different recording of it.

So…what are your Top Five?

Dec 102009
 

Just a couple of hot-picks this weekend–keeping it brief between being overloaded with work and under the weather. But if you’re a fan of Denver locals, you’ll like these picks:

Friday, December 11
Popular local indie band Vonnegut, Westword Magazine’s pick for Best Modern Rock Band 2008, is playing at the Hi-Dive Friday night, along with Dualistics and White Leather. Tickets are $6.00, available from the Hi-Dive website. Hi-Dive is located at 7 S. Broadway in Denver. Show starts at 8:00 PM. Ages 21+.

Saturday, December 12
A few weeks ago, I reviewed newcomers Churchill and their surprising performance as the opener for The Rouge. Saturday night, they’re the headliner. They’re playing at the Larimer Lounge, 2721 Larimer St. in Denver. Also appearing: Faceman, Lisa Gungor, and Chris McGarry and the Insomniacs. Presented by Radio 1190’s Local Shakedown, festivities start at 9:00 PM. Ages 21+. (Churchill is also one of the Top 12 bands in coompetition for the Top 3 slots in Channel 93.3’s Hometown for the Holidays concert.)

Have a great weekend! Stay warm!
Dec 072009
 

Excerpted from my article on Examiner.com

Sunday night, A.F.I. (a.k.a. “A Fire Inside”) headlined a night of modern rock at “Not So Silent Night”, hosted by local Denver radio station Channel 93.3. University of Denver’s Magness Arena was at about half-capacity for the four-band showcase.
I Fight Dragons launched the evening at about 6:00 PM. With a distinct video gamer theme, this band’s claim to fame is that they incorporate game controllers as musical instruments. Honestly, it comes off as a gimmick that doesn’t work well–little more than a novelty attention-grabber tactic. Not much musical substance to back it up….

Dec 042009
 

Expanded commentary from my article on Examiner.com

I like different music for different reasons. I like music that makes me think and ponder; I like music that evokes images and emotions. I like music that challenges my ears.

And then there is music that is just plain “soul food”, like a greasy plate of fried chicken, corn on the cob, and chocolate pie–without the calories. Music that’s just good for the soul.

That’s what I heard from Tab Benoit at the Little Bear Saloon last night (which I also wrote about here). Hailing from southern Louisiana, Benoit plays a unique blend of Cajun blues-rock that flat-out dares you not to stomp your foot, or at least smile. The temperature in Evergreen, Colorado last evening was 2 above zero, but it was sizzling inside.

It was the first time I’d seen Benoit play, and in his easygoing, spontaneous style, he’s a true-blue musician (pun intended). Twice in a half hour he broke a guitar string playing a solo, and didn’t miss a beat. He just finished the solo, and the song, on the five good strings. And he enjoyed himself; you could see it on his face. He was all about the music. I’m not a blues musician; he made me wish I was.

If you want a taste of some soul music, and you happen to live in Denver, you have a chance tonight. Tab Benoit is still in the area, playing at the Gothic Theatre downtown this evening. Get some tickets, and go see him.

Dec 022009
 

This is expanded coverage from my article on Examiner.com.
As I begin to write this, I’m sitting at Arvada’s popular D-Note, watching a young band called iconoClass.

Basically all they’ve done for the past 45 minutes is jam. Almost all of it is guitar solos over rock beats and repetitive chords. There is one microphone set up, but nary a lyric has been sung. Which is okay–if your instrumentation carries it. But being an instrumental-only band takes more concentration, in-depth songwriting and technical skill than most folks realize. And iconoClass isn’t there–at least, not yet.
I went into this gig not knowing anything about iconoClass except their name, because I’d seen some flyers around town. At first, after a song or two, I was tempted to say I had nothing to write about. When I write reviews, especially of local talent, I tend to steer clear of guys who are just jamming to have fun and don’t really care whether they go places. But I don’t get the impression that this is what iconoClass is about; I think they want to go places. As I’ve sat here listening to them (and writing), I have actually heard some good musicianship, some awesome rhythms, some striking sounds from these guys. Right now, they’re four guys taking up space and time on a stage–but there is actually potential here. If I were to fast forward a couple of years–who knows where these guys might be?

So I decided I have something to write about after all: bands in formative stages. Because this is the best way I could describe iconoClass. It’s like I’ve caught a glimpse of an embryo band, or a band in an incubator. Put another way, iconoClass is still in their garage phase. A group of guys who can sort of play, and have found out they can make some really cool sounds–but haven’t really learned yet how to be a band.

But it’s not like these guys are just gonna stay off the map. That remains to be seen. They could really become a band people would want to come out and see. It’s just too early to tell.

Since I began writing this post, the band has wrapped up, and I went and talked to a couple of the guys–and found out I was exactly right in my assessment of them. They are a band in the embryonic stage; they’ve been playing together for six months, and this was their debut public performance. The reason no one sang is that their bass player hasn’t worked up to it yet.

But what impresses me–and I’ll explain this momentarily–is that these guys have no delusions about where they are at. They know they are a band in formation, and they don’t think they are better than they are–and they want to grow. That impresses me because when musicians don’t see their weaknesses honestly, they can’t grow. Frankly, I have little regard for bands who think they are more than they are.

The fact that these guys know their weaknesses tells me iconoClass will go places. How far they go, will still be up to them.

So here is some free advice for my new friends in iconoClass (I told them I was going to post this):

  • Yes. Get some vocals going. You won’t be able to carry an audience without them. And be willing to explore some options with vocals, and don’t be afraid to admit if your vocals suck. :) Again, being honest with yourselves will help you grow.
  • Concentrate on playing with one another. Listen to each other. This is happening a little, especially with your drum/bass combo, but it needs to happen more. Practice a bit more give and take with one another–when someone has the lead, everyone back off a bit and give them room.
  • Network with other bands; form some relationships with local bands you respect, and try to open for them. Being around musicians who are more advanced will challenge you.

So for the rest of you who were listening in on my iconoClass pep talk–the band will be playing their next show at Old Curtis Street Bar in downtown Denver on January 7, 2010. Don’t take my word for it; go hear a band in formation. (They promised the audience here they would sing next time.)

Best to you guys. Looking forward to watching your journey…