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I’ve noticed this trend with superb shows being booked in the latter half of the week.  Recently, Ezra Furman & The Harpoons, The Revival Tour, and Bishop Allen all were booked on Sundays.  Mondays are a second runner up with booking some of the best artists you may or may not have heard about.  Regardless, if I don’t keep my eyes open, I miss these amazing opportunities.  Sticky Fingerz Rock ‘N’ Roll Chicken Shack, located in down town Little Rock, has been the best about these shows.  I don’t know many other places, which would book or are able to do so on those particular days.

This past Monday was a shining example of the excellent booking prowess at the above venue.  The double bill show is quickly becoming my favorite type at Stickyz, featured A.A. Bondy (pictured) and Elvis Perkins In Dearland.  I had heard some of Bondy’s material before through his album American Hearts. Needless to say, I loved it directly off the bat.  I haven’t actually heard his new full length, When The Devil’s Loose, in its entirety, but I’m sure it’s great. 

 Auguste Arthur Bondy chooses to go by A.A.  Personally I think the moniker there suits him way more so than going up to him and calling him Auguste.  He seems like a good old down home kind of guy, and I saw afterwards online that he was indeed from Alabama.  There’s almost something a bit intimidating about him but in a good way.  I was definitely thrilled to see that he was slated to play first of the night.

Bondy, whiskey in hand, came up on stage with his full band in tow.  I was unable to hear the names of his bassist or pedal steel/drummer, but they needed a mention because they were such a lovely addition to the set.  With one of the most coherent, fluid sound checks out of the way, they started.

I have never seen someone play a guitar with such nimble fingers as Bondy.  It almost seemed like he wasn’t even playing if that makes sense.  He played so delicately, yet hard enough to get his point across. When I first heard him about a year ago, I immediately made the comparison to Jeff Buckley in the sense that his music is extremely haunting as well.  Bondy’s voice is not one I could easily forget, which in my mind is one of the best things about a songwriter, or storyteller, as I like to refer to some of them as.  His voice is velvety soft, with enough edge to bring you back to reality and leave you wanting more.

With songs ranging from life to loss and the in between, there is something everyone can relate to.  Each song is crafted and executed so well that you cannot take your eyes off of him.  He grabs you by your imaginary horns, dances around with your emotions, and doesn’t let you go until he’s done.  I loved that about his set, and am eagerly waiting for the next time I get to see him solo or not.   

Elvis Perkins In Dearland, hailing from the Hudson River Valley in New York, is a gloriously talented quartet.  Elvis Perkins, an oddly dapper, mustachioed man, came up to the stage to back up Bondy on a song.  The rest of his band quickly followed.  They closed out his set, and then proceeded to load in to the stage. 

Perkins and his motley crew of men, with a tendency towards unkempt hair & paisley patterns, have perfected their brand of folk rock infused with humming, gospel refrains which they encourage the audience to sing along to, and a two-piece horn section.  It was certainly an entertaining show.  I hadn’t quite heard anything like that recently, so it was refreshing when they asked us to sing along to the some of the songs. 

They seemed like genuinely nice guys who had a seriously familiar grip on each instrument they played.  While I’m still not as familiar with EPID as I’d like to be, I’m going to be looking in to them more.  Coupled with Bondy, they made for one unforgettable Monday night show.  Here’s hoping I see both of them again some time in the future, and if you haven’t checked out either of these two bands, please do.  I highly doubt you’d be disappointed. 

 
-L

www.myspace.com/aabondy
www.myspace.com/elvisperkinsindearland

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What do you get when you put Jim Ward, Chad Price, Frank Turner, Jon Snodgrass, Audra Mae, Chuck Ragan, Jon Gaunt, and Digger Barnes all on the same stage?  The answer is the line up for 2009’s Revival Tour.  Chuck Ragan (pictured), of Hot Water Music, founded the tour two years ago to rousing success.  The tour headline on their website proudly states it is “an acoustic collaborative event.”  I personally could not sum it up any more precisely.

Ragan has tapped in to and brought forth an amazing idea.  Last year’s tour saw the likes of Tom Gabel, Ben Nichols, Tim Barry, Ragan, and a few others.  This year’s tour added significantly to the lineups with some artists playing relatively exclusively to all dates and other special appearances during other dates.  Chuck Ragan, Digger Barnes on upright bass, and Jon Gaunt on fiddle were the only ones that were on the last tour that came back to Little Rock this year, and it was strikingly obvious that over a year later, they are playing as tight with each other as one could hope for. 

The show started off with every artist on stage playing and singing along to a couple of songs.  Obviously that would be too much of a mess for the whole night, so the show was further broken down in to solo sets with backup from fiddle, upright bass, or another one of the musicians on tour. That way there is something for everyone in the audience, especially if someone really likes that one guy from that one band.  I commend Ragan for organizing it this way, because where else would I get to see all of these living legends play on one stage. 

I’d like to say my favorite set of the night was by an up and coming man named Frank Turner.  At first glance, this English man didn’t seem like a formidable force with his boyish good looks and his “oops, I was drunk…” Texas tattoo, but I was blown away with how great his music and demeanor was.  He sings of friends & enemies, booze, and general other trials of life but with a zest and charm that one cannot keep their eyes off of him.  He entertained us with several stories from here and there, which only made him even more likeable. 

Like a lot of the other Revival members, he had been doing his punk rock thing before and not making it as far as he would have liked to.  However, he dropped his band, started doing solo shows, and relentlessly toured.  People started to take notice of his new brand of punk tinged, acoustic folk and he has steadily gained popularity in his home country and now in the US.  This man is literally an entity not to be reckoned with.  That being said, if you get a chance, I highly suggest you check out his music.  

Jim Ward, of Sparta, At The Drive In, and Sleepercar, put on one hell of a show.  Really, I could say that about every last one of the musicians up there.  Ward in particular was able to emote his feelings to a tee where you were completely in line with them.  It certainly takes an awfully talented person to do that.  I’ve listened to Sleepercar for a bit now and never had any good reason to check who was in it, but I’m glad Ward ended up being on those credits.

I was also highly looking forward to Chad Price & Jon Snodgrass.  In the last year or so, I’ve gotten really in to Drag The River, and since their untimely break up a couple years back, I was wondering if I’d ever get to see them.  I knew DTR had been through Little Rock several times prior, but I was unfortunately not old enough to go or familiar with them.  So, in seeing them it made one of my small wishes come true.  I personally wished they’d played a longer set, but a handful of songs were better than none. 

The show was a success even if it was for only a crowd of twenty people give or take a few.  I personally liked the fact that it was so intimate, even though that definitely hurt the money intake to keep the tour on the road for the rest of its dates.  One of the few things that was really touching and just all around bad ass was that one of the guys wandered off stage, grabbed a huge bottle of Jameson’s whiskey, and passed out shots to those who wanted them.  Little things like that don’t happen during huge shows, or at least not to the same effect.  Even though the audience was already united in thought and passions for the show, that simple gesture just made us even closer.  I can say that only a handful of shows have ever done that, and this just felt like we were one big family.

Ragan has done a magnificent job of bringing his show on the road and touching people’s lives.  I wish him and whichever musicians choose to be part of his group of troubadours the best of luck for the future.  I’ve seen  the first and second year of The Revival Tour and can only hope to see many more in the future.

 

-L

As a seventeen year old, I had already been going to shows for two years.  By chance, I went to one of the truly all age venues in the town, Vino’s Brew Pub, of Little Rock, Arkansas.  They were hosting The Gossip.  A friend of mine told me it was a show not to miss, so I made the fifteen minute drive, paid the five dollar cover, and got way more than I expected.  

I recall that at least one local band opened the show, but I’m fuzzy on the details since it’s been about six years since then.  Next, The Gossip, as they were known back then, made their way to the small stage.  Beth Ditto, Kathy Mendonca, & Brace Paine started playing.  As soon as Ditto sang her first note, I knew I’d be a fan for a long time to come.

Fast forward to October 30, 2009 where Little Rock was eager to welcome back their wunderkinds, Gossip.  I’m still having a hard time not attaching “The” to the band name, but that’s all well and good.  They chose Little Rock to close out their current US section of their tour before traveling back to Europe. 

I was rather surprised and honored at the same time that they’d even think of coming back to Little Rock, much less them opting to play at Vino’s when they could have easily sold out a larger venue.  Ditto actually insisted on playing at the venue because it was such an integral part of their early years together. Gossip has gotten so popular in recent years that I’d resigned myself in to having to see them in a larger venue some time in the future.  However, in retrospect, it makes all the sense in the world for Gossip to re-visit Arkansas.  Ditto, born in Judsonia, AR, but raised in Searcy, AR had been causing a stir for many years in an area that most likely viewed her as socially unacceptable.  She obviously did not let that stop her and The Gossip was formed.

Now that the mini-history lesson is over, I was exceedingly excited when the show started.  Ray Bridgemay, from Cabot, AR, opened the show.  They were folk rock infused with undertones of a jam band.  That being said, they weren’t that bad.  I actually enjoyed them, but as they said themselves, “They were the band everyone wanted off stage so Gossip could play.” After the show, I asked them what it was like to be opening for Gossip and they said, “We were so excited.  We’ve been practicing our asses off for the last four months.”  Hey, I give them credit for being honest, and would love to see them again where they are the primary focus of the night. 

After a half an hour set give or take a few minutes, they cleared off the stage to make wake for Gossip.  This time around, there were at least three times as many, if not more, people packed in to that oddly shaped back room.  The crowd rippled with energy and last minute beer runs before the stars of the night took the stage.

Hannah Billie, who replaced Mendonca on drums in 2003, entered through the side door first, followed quickly by Paine.  Everyone waited with pent up excitement for Ditto to appear.  She bounced in through the door, as full of energy as ever and as vibrant as her freshly dyed fire engine red hair, to rousing applause.  Ditto’s family, as they are accustomed to do, made their way front and center of the stage.  I met Ditto’s mom, and I can see where her jovial demeanor and crazy antics come from.  Once they were all settled, the band kicked started the show.

Gossip had a thirteen song set, but I could be off by one or two because the set list I glanced at briefly was typed in ridiculously small font.  The set consisted of a healthy mix of old, new, and in between material.  I spent the better part of my teen years listening to Movement, Arkansas Heat,and, That’s Not What I Heard, and it was amazing to hear some of those live again.  Admittedly, I’m not as familiar with the newer albums, but what I’ve heard in the past couple years and during the set, I loved.  Newer material was favored during the show, but everyone was completely fine with that.

Near the end of the night, Ditto lead a raucous sing-a-along of We Are The Champions.  Everyone got in to it, and it was a fitting way to wrap up the evening and kick off Halloween festivities.  As they finished up the show and walked off, the crowd enthusiastically cheered for them to come back on stage.  Ditto’s mom, got up on stage to fire us up more, and because of her efforts, we cheered Gossip back on the stage.  To the delight of everyone there, they played one last song and then called it a night. 

There was a frantic scramble among some people there to obtain coveted set lists and show posters.  I actually had no problem nabbing a poster so I could hang around and get it signed, talk with the bands, and generally make up for being too shy around them six years ago.  Each member obliged and was truly wonderful to meet.  It took me a few minutes to track down Ditto.  I finally found her out visiting with her family and asked her really quickly to sign my poster.   I also asked what her thoughts on being back in Little Rock were like, and she said, “ I love Little Rock.  It’s great to see all my family and friends here.”  I didn’t want to steal any more of her precious family time, so I wandered back in to the venue.

This show exceeded all my expectations and then some.  Gossip certainly did their job and did it well.  No one left that show without being sweaty to some degree and a smile.  There’s a reason why they are hands down the most popular band to hail from Arkansas in the last ten years.  They are a tightly knit band that makes intoxicating music.  I can only wish them best of luck on the road and hope that they don’t wait another six years to come back and see their extended family of Little Rockers. 


-L

(Side note, Filter Magazine asked me to write up the show.  That's pretty sweet.)

Many, many apologies to those who went out to either the Joe Buck or Austin Lucas show.  Apparently car trouble was universal yesterday.  Buck's transmission fell out of his vehicle in Ft. Smith and word is that they wouldn't rent him a car.  Tough break.  Lucas broke down in either Arizona or New Mexico.  Not sure of the complete story, but I didn't hear any of this until I showed up at Juanita's to see him.

Kevin Kerby, who was slated to open for Lucas, played a fine solo set.  The venue let all ten or so of us in for free.  Kerby played some old, some new, and some in between material.  He really is a fine singer/songwriter, and it's always a great treat to see him play.

After that set, I wandered over to White Water knowing full well Buck had to cancel.  I was originally bummed that I wouldn't get to see Andy Warr (of Brother Andy & His Big Damn Mouth) play.  However, all things worked out well, I got to see him do his thing.  Jonathan Wilkins was a last minute replacement for Buck.  He played a hearty solo set, and folks an era may just be on the brink of ending, but Wilkins' faithful guitar may be biting the dust in the very near future.  At least Jonathan thinks so.  We shall see. 

Even though the night wasn't how I'd planned it to turn out, it was still a great time.  I love that the community is so close knit that someone could literally fill in on the drop of dime.  With that, I'll leave with a closing, keep your eyes open for Brother Andy shows.  They're awesome, and I'm thoroughly anticipating the release of their first album at the beginning of next year. 

-L

www.myspace.com/brotherandyband

 A week ago I was corralled in to going to Waffle House at 2 am with Uncle Marshall, Doc Possum, and a mutual friend.  You know how those late night excursions turn out, so I don’t need to elaborate on that much.  We were sitting there, shooting the breeze and spelling messages out in ketchup.  I brought up the long overdue review I promised, and now I’m here.

Frown Pow’r is a motley crew comprised of Doc Possum (Blake Phillips), Flash Gurdon (JT Tarpley), Uncle Marshall (Marshall Dunn), Stankerbell (John Babb), and Mean Paul (Paul Fennig).  Yeah, they have normal names too, but their stage ones are totally more fun to use.I’ve referenced their real names above so you know who is who.  These men have a good thing going here, and I’m proud to know & support them.

Their first full length album, Don’t Doubt It, Shout It!, in accordance with Little Rock’s own Thick Syrup Records and Last Chance Records, was finally released on September 11, 2009.  Sticky Fingerz was abuzz with people waiting in anticipation of FP’s set.  However, they had to make it through sets by the equally talented Androids of Ex-Lovers and The See.  Androids killed their set, and I have a feeling they made some new fans because of that.  The See came up and performed with their trademark antics and energy.  However, the focus was on the five-piece band gearing up to play.  Sound check always takes a hot minute for Frown Pow’r because they have a plethora of instruments, but those who’ve seen them expect that delay. 

The show went off without a hitch, and I eagerly got my copy along for one with my friend in France.  I chose to listen to it with fresh ears a day or so later, and since I was sick it was easy to accomplish that task. 

I knew I’d like them for the long run after my first outing to see them.  I was immediately drawn to the song Stomp Wagon.  I love the fact that Flash Gurdon’s vocals start off uniform and get progressively more erratic almost to the point of sounding painful.  It’s a song about living and dying with music, and I don’t think it could be anymore truthful if it tried.

The song Keep on Clappin’ also grabbed my attention early on due to the fact that it’s extremely catchy and positive.  Yes it’s repetitive, but not in the obnoxious, shut the hell up kind of way.  It has an uplifting message, and never fails to get people smiling, dancing, and tapping tambourines with such fervor that I haven’t seen in some time.  “Bad things just keep on happenin’,” but you just have to forge ahead even if it means you clap them out to cheer up.

That Pow’r You Possess is the album’s midway point.  I believe the band chose wisely to place it here.  It’s what I like to consider their “slow jam,” a breather if you have it.  A band needs a slight rest once in awhile as does the audience, so it fits perfectly.

Everyone’s A Winner evokes an outer space like feel when I listen to it.  I’m not a huge noise music enthusiast, but I can deal with the amount they infused in to this track.  After the noisy section, Tarpley’s voice cuts through clear as day to your ears.  His vocals get rougher as the song goes on to the point where I wonder if it hurt to sing this song.  Even though his voice sounds stressed by the latter part of the song, you can tell he’s singing his heart out. 

To save a bit of time, I’ll talk about one other specific song, O! Lord!, and describe a group of other tracks in a bit.  O! Lord!, is the absolutely best possible way to end this album.  It culminates in the listener basically being transported in their minds to an old school, southern style church.  When I first heard it, I felt as if the guys needed a twenty-person, boisterous church choir to back them up on the chorus.  The tune also offers up a chance to showcase each member’s individual talents, while ensnaring the audience and convincing them to sing along and join in rapturous revelry.

Several songs remind me of the Beatles, as David Fair of Half Japanese, pointed out in his review.  I strongly urge you to read what he wrote because it’s just that good.  However, not all the songs sound like that.  A few of them remind me heavily of the Chuck Berry & Jerry Lee Lewis era of rock ‘n’ roll.  These men have found a happy medium that seems to be working quite well for them.

Listening to this album from start to finish basically leaves me feeling as if I was just at a Frown Pow’r show.  Well, minus the tambourines and dancing people.  I love that the album causes me to think and feel that way because it’s a rare thing to capture, but they have perfected it.

Don’t Doubt It, Shout It! is gloriously lo-fi.  I personally would not change it in the least.  Even if you’re not in to the whole lo-fi scene, I suggest you check out the album.  You’d be hard pressed not to crack a smile or at least like one of the songs on the album since there is something for everyone on it.  In a relatively new era of music from Little Rock, this album, with several others, are shining examples of the many talented musicians we have here.  I’m proud of all the hard work that they put in to this record, and it’s evident to those who listen to it.  Until the next album or show, whichever comes first, “I’m going to keep on, keep on clappin’ as I hop on the stomp wagon and head on up the road.”

-L


(Photo by: Judea Jackson)