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"That was the shittiest band I've EVER heard!" I was smoking a cigarette out in front of the Rev Room and I heard an unsatisfied hipster redneck remark on how terrible the band was. It brought a smile to my face. Much like all the swarming Ernie Biggs fashionistas buzzing around the River Market, oblivious to the fact that some of the better bands in Little Rock were baring their souls just inches away, some people just don't get it. I've noticed many people at the Rev Room typically show up for most of these events to be "cool" and "indie" and usually wind up an hour later, unimpressed, and seeking comfort in the American-Idol reject, Top 40 ass-hat at the bar across the street. Which is fine. Good riddance. Which is why I am glad that in the past year I've stumbled upon Little Rock's out of proportion music scene. Kris Allen even said it didn't exist. Which must make it all the more valuable to the people that created it back in the Towncraft days.

Going back to some of Little Rock's roots, the show last night was an announcement to Little Rock that the Localist publication is back. I wasn't here when it was around, but can already foresee the bi-monthly publications piling up around my room. Anything that is 80% words 15% photos and 5% advertisement is a breath of fresh air in our community. I don't have anything against The Arkansas Times or Sync, they are not marketed to me, nor the liberal leaning post college crowd of 7th and Thayer. With that said, the Localist will probably be a very boring and dry read to the people that only pick up a magazine to frantically look for their face amongst all the feel-good cocktail party photos of the lame-Os around town, skipping past all the full page furniture ads and the token self help patio and garden tips.  

Welcome back to Localist and I'm excited that the arts and music scene once again has it's mouthpiece.

-T

This site started as a 2 person operation, then grew to 4.  Now it's down to just me, and the occasional vignette from one of the others. The year has been full of major ups & downs.  However, I can only speak to that starting in July 2008. I often times wanted to give up the place, but it's through the support of some of you out there that I keep struggling to breathe life in to the site.  I truly appreciate the feedback and words of encouragement, and if they weren't given I probably would have given up a long time ago, and if you know me at all, giving up is one thing I hate to do.

The year has ushered in some truly spectacular bands, whether they be amazing or amazingly bad.  Either way, I don't think it's whether or not the band was great, but the memories we are left with after the show that eventually work their ways in to stories that we tell to others down the line.  I've opened my eyes to many new genres over the past year, and I'm just thankful that Little Rock is a diverse enough place to allow them all to share common stages.  I have high hopes for the coming year in music.  I sure hope Little Rock doesn't disappoint.

It really is fitting that the one year anniversary of LRLM falls upon one of the busiest nights for music this town's seen in a while.

Thanks again.

--L

Dinosaur Jr was really loud.

Dead Confederate was a great choice as an opener.

That is all.

--L

The weekend was busier than all of last week combined.  Friday night saw three power trios of the Little Rock scene hit the stage at White Water for what was a marvelously fun time.

The Reds (pictured) were up first.  They have a nicely mixed brand of garage & indie rock.  Jason Thompson knows how to play his drums, Graham Cobb had a good handle on his guitar, and John McAteer really tied things up nicely with his bass and vocals.  I had never seen them prior to this particular night, but what I saw I liked.  They kept up high energy and their songs were all fun to listen to.  The coolest thing about their whole gig was having a mutual friend with McAteer, one who he hadn't seen in something like 18 years, and hearing a song written about that person.  It was neat talking about that after the show. 

Moving on though, The See took the stage next.  I'm eagerly awaiting their debut EP, Bars of Gold.  You can listen to it here if you aren't familiar with them.  I highly recommend you see tehm live to get a feel for these guys.  It's often times harder to truly see what an artist is like without seeing them live, and well I'm usually always energized and ready for awesome things after one of their shows.  I still have to say Storytelling is my favorite song that isn't on their EP, but I'm not letting that discourage me.  They have several new songs and are sounding more cohesive as time goes on. 

Finally, Friday night wrapped up with an awesome set from Jonathan Wilkins.  He was accompanied by Matt Floyd of Smoke up Johnny and Mike Motley who you've seen playing around town in one of several bands over the years.  I'm slightly at a loss as to why so many people left or wandered upstairs when Wilkins started to play.  He seems to be a crowd favorite from what I can see, so it was a bit confusing.  However, he played like he was playing for a full house, and his voice was as strong and primal as ever.  I love his bluesy rock sound and it's only gets better with back up.  I always keep my eyes open for new shows, and if you don't have a copy of his latest record, Highway Robbery, you ought to.

After a long night and little sleep, I wandered over to North Little Rock to see what this Whale Fire show was going to be all about.  Apparently, 107 Liquor of Sherwood is sponsoring these block party-esque events in conjunction with Saturdays that the Arkansas Twisters & Travs both have games.  With the cooperation of downtown North Little Rock, the block between 3rd & 4th Streets on Main Street were closed between 4:30 and 6pm.  There was stage set up facing the river nearer 4th street.  I got down there a little after 4:30 and was greeted to Whale Fire already playing.  There were I'd say around 40 people when I got there and it had dwindled down to 20 or so by the time 6:30 rolled around.  Whale Fire went through their whole collection of songs, played a few new ones, and also threw in a few covers for good measure.  The sound was surprisingly better than I thought it'd be, and I'm looking forward to seeing a few more shows like it in the near future.  I found a site that had the dates for the series of concerts, but it doesn't list which bands are playing at the moment.  I'm supremely interested in keeping up with this because I think it's an awesome idea.  Anyways, I saw several people who I'd never think would be Whale Fire fans, but they proved me wrong.  The show was free, got people out in the nice weather, and I think it's safe to say that we all had a great time.  Now if only the boys of Whale Fire had that EP out.  I know T & I are looking very forward to it. 

I have photos from both events that are coming very soon. 

--L

Ok let me preface this by saying, this is the first review I have written in almost 6 months. It took local band Whale Fire kicking ass at White Water to get me back into the whole Little Rock Live Music thing. If it were not for Lizzie, this site would have been finished a long time ago. First off thanks goes out to her for keeping this thing alive and second, thanks goes out to Whale Fire for being the next best thing Little Rock's scene has to offer. If you missed tonight's show, you missed out. The first time I saw Whale Fire they were filling in for Isaac Alexander's cancelled show at White Water several months ago. Honestly, they were not that great then.

 I have no idea what happened between now and then but seriously, they get better every time I see them. I remember catching another White Water show after that and a ground breaking show at Juanita's a few months ago. These guys must rehearse forty hour weeks because I have never seen a band turn around so fast. Unfortunately I missed the last couple of shows at Circa '76 and downtown. I am half battling a cold and I was still not going to miss the show at White Water for anything.

They definitely did not disappoint the several people that made it out Saturday night. The rumor mill has them playing another time in April and a possible Riverfest outing in May. An album or possible EP is in the works and I cannot wait to see what they come up with. The next time they play, don't miss them. Seriously.

www.myspace.com/whalefire  


-T

“There’s something real magical about this town, but at the same time not cause people kind of get stuck here, but maybe that’s just my jaded opinion.  Maybe that’s why it’s so magical.  Maybe it’s just for us.”  -Andy Conrad in Towncraft

I always find myself mentioning the documentary Towncraft.  It’s about time I actually put my thought about it on here.  Again, these are just thoughts I’ve had over the last couple years since I saw it in 2006, and I know things will be a bit long, but I’ve got a lot of thoughts on the matter.

Towncraft is so much more than just a documentary.  It’s Little Rock.  It’s the music.  It’s the scene.  Most importantly though, it’s the people here that make it what it is.  If any of these integral components went missing, this wouldn’t be the scene that embraced so many youth about twenty years ago, and it still wouldn’t be the scene that has taken in me and countless other native & non-native Arkansans.  Little Rock is still a diamond in the rough to most, but those who have experienced what it has to offer know that it’s priceless.  

One of my regrets in life is that I wasn’t born earlier.  Yes I know that was not in my control, but to be a 14, 15, or 16 year old when the punk era took off in Little Rock would have been downright kickass.  Instead I was born shortly before things took off.  However, those involved in the movement were young, talented, and needed a creative outlet.  Punk had hit the kids in Little Rock, and that’s pretty much all it took to propel them on one crazy life journey after another.  Several key bands formed, the most notable Trusty, and the scene caught like wildfire with the youth who didn’t want to stay at home.  Instead shows were booked at the DMZ, which changed its name several times over the years to settle on Vino’s.  This was instrumental because rather large name punk acts at the time traveled through, and the local bands got to open for them.  I suppose you could say it was the best of both worlds for everyone.

The movement quickly gained momentum with mere teenagers touring the country.  I know it’s not completely unheard of these days, but in the late 80s and early 90s it wasn’t seen often at all.  As the slightly older bands were dispersing Little Rock, a new crop of bands arose.  I believe the scene started out with about five recurring bands and in the span of a few short years multiplied four or five fold.  All of these bands created rabid followings, and it was these fans and musicians alike that made this time in Little Rock special and unique.

Enter 1993 & 1994 and Soophie Nun Squad was born.  I could go on about them for quite some time because they are my favorite band to come from Little Rock.  Instead, I’ll leave a few fun facts about them and continue on.  Nate Powell is an accomplished comic book author/illustrator.  Soophie always had anywhere between 6-12 members.  The shows weren’t necessarily shows but more of a spectacle.  You never knew what to expects, but always knew it’d be a great time.  They are severely missed by their fans, and hopefully will hold a reunion show in the future.  I, along with many others, can only hope.

Fast forward another couple years and Little Rock is taken by storm with Max Recordings.  (Thank you Burt Taggart!)  Max has fostered an amazing group of musicians such as American Princes, The Big Cats, Sugar & The Raw, Kevin Kerby & Battery, and countless others.  The label was initially started to try and help Arkansas musicians either get out of the state, stay here because of family, or simply just to help them stay put in a place they love.  I know many of these artists personally, and they all seem to be exceedingly happy about the paths that they’ve chosen.

I started heavily going out to shows in Little Rock when I was 15.  I used to be a fixture at Vino’s when it was a massive hangout in a large room of second hand smoke, but what venue back then wasn’t.  Sure, I’ll probably be one of those unlucky people who will develop lung cancer or another respiratory ailment because of it all, but it was worth it.  Some of my best times were at Vino’s and Juanita’s, and I often find myself wondering what those walls would say if they could talk.  Those were my glory days along with countless others.  I often wish to relive some of them, but knowing it’s impossible to do so, I forge ahead.

Upon someone turning 21 in Little Rock, several new venues open up to them.  White Water Tavern (in the great hands of Matt White & co.), Sticky Fingerz, and shows once in a while at the Rev Room & Juanita’s cater to those who can legally drink.  White Water books acts off the beaten path and almost always has live music 4-5 nights a week.  It truly is a gem among the fodder of everyday life.  The other venues tend to book better known acts, and that’s totally fine by me.  It’s nice to see we can get some of those larger acts at smaller venues.  I always anticipate the intimacy these shows offer.   While none of these places are really prevalent in the documentary, who’s to say they won’t be mentioned if another film is made 10 years down the road.

Now deep in the latter half of the 2000s, Little Rock has seen a resurgence of those who started the scene Towncraft depicts.  Sure they’re in their 30s or a little older, but that doesn’t mean they still can’t rock.  I saw Burt Taggart and The Big Cats blow the roof off White Water several months ago, even though his priority these days is his family.  It’s so cool to see these musicians back to doing what they love to do.   It’s also great to know that the scene isn’t dead in the slightest due to a couple new record labels, Thick Syrup & Last Chance Records, and the growing amount of talented new musicians out there.

If any of my ramblings have appealed to you, I wholeheartedly recommend buying or borrowing Richard Matson’s documentary, Towncraft.  It has changed how I view things.  I have met a lot of great people from it, and it’s just amazingly well done.  Towncraft is not some mystical idea.  We are Towncraft.

--L

P.S.  I'll update with show related things when I go to some.  It's been a while, but I'm really looking forward to getting back in to things.

Towncraft 
(Photo from the Towncraft website)

These are just some of my musings on one of the newest up and coming venues in town.

Circa 76 is located at 1910 W. 3rd Street.  It's easy to miss, but if you ever went to The Italian Couple, you could find it easily.  Anyways, the store is located in a place easily accessible to people from all different parts of Little Rock.  It's literally a couple blocks away from the State Capitol Building so that shows you how centrally located it is.  It's not the largest place, but it has a pretty decent selection of vinyl, cds, and cassettes.  The other thing that amazes me to no end is that Joey, the owner, has a good selection of music from local musicians.  I'm glad to see the support is there for them.

This record store is multi-faceted.  While it serves to sell and trade music, it also boasts a place where bands can practice and play shows.  I believe Joey might have some recording equipment as well, but that's the one fact I'm not sure of.  Nonetheless, this place seems to be a jack of all trades.

I've been there several times now and have caught a few shows.  The one thing that truly stands out in my mind is that it is an honest to goodness all ages venue.  I went there this weekend to catch Magic Hassle and there were several kids there under the age of ten.  I thought that was ridiculously cool, and I'm glad there is a place that doesn't exclude anyone based solely on age.  Each show that I've heard about tends to book a local act or two and then a touring one.  I don't know if that's the strict formula for all the shows, but it seems to be working.  Cover is usually a reasonable $5 and the shows are fun.  You never know who you'll see down there and that's half the fun of things.

I sincerely hope this place stays open for the long haul.  It's nice to have another record store in town.  I like getting away from White Water and the places in the heart of downtown and Circa 76 offers a great alternative to everywhere else.  So keep up the good work Joey, and I encourage everyone to check it out, even if it is only to buy a record or just go to a show.  I believe they'd be happy to have anyone stop by. 

For a list of upcoming shows you should go to their home page.  Read up on the place and most importantly have fun there.  It's laid back and a nice departure from the humdrum, every day, normal life. 

--L

First and foremost I want to thank everyone who works at the Rev Room.  Recently they have been booking great shows and returning to the status of one of the better venues to take in amazing live music.  I've had nothing but great experiences since my one rough patch at the Toadies concert several months ago.  However, Lucero, Girl Talk, and Lord T & Eloise have more than made up for it.

Speaking of Lord T & Eloise, I saw them for the second time and much to my liking and amazement, had an even better time than the first time I saw them.  Perhaps that was because I was a hundred times more familiar with their music and could interact more, but there were so many other variables to make it a fantastic night.  I really have Eloise to thank for this.  When he last took Little Rock by storm with Al Kapone, he graciously gifted me a copy of his new album, "Chairmen Of The Bored."  I have listened to this album countless times since I got it and must say it's superb.  I'm in love with the idea of Aristocrunk being showcased to the world in order to save the dwindling hip hop scene.  I highly suggest if you don't know much about this dapper duo and their never ending supply of backup singers/collaborators, you should check out their website.  It's rather explanatory, and I'm fairly certain you will get a chuckle out of it.

So, back to the show.  Scratch Track opened and it wasn't quite the band I imagined opening for what was sure to be a glorious night of Aristocrunk.  This group consisted of a beatboxer/singer and a guitarist/singer.  Albeit the beatboxer was good, the overall feel to their set was too laid back.  I kept thinking that they're not getting me excited for what was to come.  However, I feel that while they were really solid, they'd be more suited to open for a non hip hop oriented act.

After Scratch Track finished up, DJ Witnesse took the stage.  He started spinning mainstream hip hop much to my chagrin.  However this was his main tool to get the crowd pumped up for Lord T & Eloise.  MysterE (pictured), often jokingly introduced by the duo as the best soul singer Memphis has to offer, ran up on stage twenty or so minutes later and the crowd went berserk.  They inevitably knew what was coming and couldn't contain themselves any more.  Everyone started dancing around and laughing as Lord T & Eloise took the stage.  Always the proper showmen, they simultaneously burst through the fog and the show was kicked in to full gear.

They rapped about the finer things in life, the CEOs, and even black limousines.  The content of their songs is extremely satirical towards mainstream hip hop music today, and it is portrayed through witty lyrics and mesmerizing beats.  Not everyone will like Aristocrunk, I can almost guarantee you that.  I personally didn't know much about it to begin with, brushed them off, but eventually read up on it and fell in love with this aptly, but strangely named genre of music.

Lord T & Eloise performed a healthy ratio of newer material to the older.  I myself was much more familiar with the newer stuff so I was singing along to those songs.  Obviously I was doing something right because each Lord T, Eloise, and MysterE put a mic down at separate times for me to sing parts of the songs.  I always get tickled pink when musicians do that because it's just one more small thing that distinguishes them from other artists and blurs the performer/crowd boundary.  I love when that threshold is crossed because it's something that I don't see as many performers doing as much of lately. 

Per usual, several champagne bottles were opened, passed around, and enjoyed by quite a few of the crowd.  It's one of their trademarks and it always amazes me to see people who don't know that it's coming.  To round out the night, during the song "Make Dat Monet" several wads of one dollar bills were randomly tossed in to the crowd which just got us all even more excited.  It's signature moves like these that make this act insanely unforgettable.

These men come to entertain, which they do a hell of a job at, make people believers of Aristocrunk, and most importantly they crusade to save hip hop.  I have never left one of their shows disappointed and hopefully never will.  Keep your eyes and ears open for these kind gentlemen because they have played Memphis in May, Bonnaroo, and are headed to this year's SXSW festival.  I expect great things to come their way in the near future, and can only hope they will continue their crusade to make hip hop a viable genre again.

--L

Intense. Sweaty. Exciting. Girl Talk.  I was joined by at least 500 other people crammed in to the Rev Room to catch a glimpse of Greg Gillis, also known to the masses as Girl Talk. 

 I must state the obvious.  Gillis was paid several thousand dollars to push the play button on his laptop in whatever media player he uses.  I know quite a few people who are bitter at this, but my guess is that they’re just mad that they didn’t come up with the idea and aren’t getting paid for it.  Girl Talk claims he’s not a DJ, but we all know that isn’t true.  He doesn’t sing and merely takes breaks to engage the audience while saying a few choice words.  However even though he’s a self-proclaimed non-DJ, he’s worth the money for one of the most entertaining shows I’ve ever been to. 

So to start the night, I got to Rev Room around 6pm.  I was greeted by at least 50 or so people in a line, and was miffed that I had to wait with those looking to pick up will call or hoping to buy a ticket.  Nearly half an hour later an employee shuffled those of us with hard tickets to come around to the side door.  Three of us went over, and I staked my place as first in line.  After waiting for a while, 7pm rolled around, and everyone thought the doors were going to open.  Instead we were told doors wouldn’t open until 8pm.  I didn’t particularly care because I was the first in to the venue.  It was well worth the wait because I bought my water from Rumba Restaurant prior to entry so that I could have first crack at my favorite spot in front of the stage.  I stood there and semi-patiently awaited the opening act, Mad Happy, for two hours.  Normally Rev Room starts on time, but they were running a full hour behind.  Anyways, Mad Happy is an expectant couple that had some great lyrics to lay over even sicker beats.  I feel they were the perfect opener because they sure got the crowd riled up.  Not everyone in the crowd was as excited fro them as I was because they started a Girl Talk chant before they were even finished.  I kept thinking that was rude, but brushed it off to fully enjoy the rest of their 40 odd minute set.

 After Mad Happy finished up, the lights were turned down low, the fog machine was cranked up high, the crowd began to pulsate with energy, and a fight erupted.  I’m not even sure what it was about, but I saw at least three different people directly behind me punching each other while I was trying to avoid being pulled in to it. Tensions were running a little high there, and it didn’t help that Rev Room made us wait even longer while Gillis’ laptops and table were being set up.  By this time I had shifted only a mere couple feet away from my original spot, finding myself directly in front of the middle of the table.  I fought tooth and nail to keep that spot, and I’m extremely glad I did that.

So, after an additional half hour of waiting, Girl Talk emerged on the stage through the faux fog, and things were on.  The crowd surged forward and rushed the stage.  I’d say a lucky fifty or so people got to dance up there for the duration of the show.  Apparently it’s in Gillis’ contract to let people dance on stage with him, but having never seen or read it, I don’t know if there’s truth to that.  It was at least at least true this night.  With that rush of people, a tiny bit of space on the dance floor was freed up for those who chose not to get on stage.

 From where I was standing, I was no more than an arm’s length away from Gillis for most of the show.  Everyone was laughing, sweating, and smiling, but most importantly everyone was dancing.  The crowd was one giant mass of sweaty people in fantastic spirits as Gillis played mash-up songs comprised of everything from M.I.A., The Cranberries, O.P.P., Beyoncé, and Black Street.  While most of the songs were blends of contemporary radio music, he did manage to weave in several songs from the 80s and 90s to round out his set.
 
 I literally could not have asked for a better night.  Yes I almost lost my glasses on the dance floor, but I thankfully caught them as they hit the stage and were heading towards the floor.  Yes I got my face forcefully shoved into Gillis’ table, but I didn’t break a tooth which was my major fear being so near the front.  Sure there were fights, but things were resolved in a relatively peaceful manner and those involved were either kicked out or forgot their differences when Gillis started up.  All of these crazy things combined to form one Captain Planet-esque night of joyful revelry that left everyone hot, soaking wet from everyone’s sweat, and almost certainly happier than when they arrived. 

Gillis is a genuinely nice guy and entertained fans for photographs after the show.  He said I was pretty awesome for keeping my spot in the front the whole time, which just made me smile, and then we talked for a couple minutes where he said he was glad he made it through the show with nothing bad happening. In the blink of an eye, Gillis was gone, leaving me and a couple of friends standing in a nearly deserted and trashed Rev Room that was eerily awesome.  Whether or not I take stock in his proclamations of not being a DJ, I survived Girl Talk nearly seven hours later, and I would gladly be pushed around and pushing back to see him again.

--L