Five Questions with Peter Case

Hamburg native Peter Case is returning to Buffalo to perform two shows this week. The first will be a free, full-band rock and roll show (with Case on guitar and vocals, Mark Winsick on guitar and backing vocals, Jim Whitford on bass and vocals, and Rob Lynch on drums) at 5 p.m. Wednesday, July 25, as part of the Larkin Live concert series at the Larkin Square in the, you guessed it, Larkin District in Buffalo. (Kudos to Seamus Gallivan and crew for dong a fine job on the concert series).

The second show will be a solo performance at 7 p.m. Sunday, July 29, at the Sportsmen’s Tavern, 326 Amherst Street near Grant Street in Buffalo. Admission for this Private Concert Series show will be $20.

Case is one of the greatest songwriters of our generation, if I may offer an opinion, and has been in several formats, going back to his work first with the Nerves, then gaining popularity and some fame as the singer/guitarist/frontman for the Plimsouls, including the classic “A Million Miles Away.” The multiple Grammy Award nominee has released a host of solo records, for major, middle, minor and independent labels, and was the focus of Tom Weber’s excellent “Troubadour Blues” singer/songwriter documentary film from 2011.

I caught up with Peter online and, as you can probably tell, asked him five questions.

KJH: What will people get to hear from you July 25 at Larkin Square with Jim Whitford and Mark Winsick, and solo July 29 at the Sportsmen's Tavern, and what will be the difference?

PC: I love playing with Jim and Mark (and Rob) and we go way back so its blast to play electric rock and roll and blues with them, a lot of which we've worked out over the years, and some of which is always "off the cuff," put together in the moment onstage, which we can do 'cause we've known each other so long. It’s a show I only do with them, or the Plimsouls, musicians I know really well.

My solo show is what I go around the country doing, also in Europe and the UK... it’s songs and music I can't present in that spontaneous band lineup, it’s a different type of thing. It’s mainly at this point what I'm known for, what I was doing when I was nominated for the GRAMMY s 3 times,,, its my main gig.

It was inspired by several shows I saw in Buffalo as a kid: John Hammond Jr, solo at Kleinhans, James Taylor solo at Kleinhans after his second record, and Dave Van Ronk, solo performance, outdoors (in March snow!) by Buff State ... at one point I hitched rides over to Boston and saw the great blues singer Lightnin' Hopkins perform solo there, and it was electrifying and a big inspiration.

The solo thing isn't me "unplugged." It’s the way I play everywhere, and I'd like Buffalo to hear it.

KJH: You were a big part of, and basically the focus, of Tom Weber's film "Troubadour Blues." What was it like being filmed for such a movie and how do you feel the film turned out?

PC: It was weird: he filmed the movie for ten years, so I get to watch myself aging when I see it! But it’s been great, because it give people a behind the scenes look at the solo thing we've just been talking about.

KJH: You told me in an interview and have said on stage at times, to paraphrase, that conservative/Republican presidential terms are good for folksingers and material. What are presidential election years like?

PC: I'm not up anywhere giving political speeches. But I think people know how I feel. Hey, I'm in the 99%, but so is just about everybody else!

KJH: I am a big fan of your song "Words in Red" from "Wig!" and I think of it whenever I hear, mostly, right-wing politicians and preachers using the Bible and religion to attack others. Do you get a strong response for this song?

PC: Yes, that song has been very popular. I'm not anti-religion, I have a "higher power" that I believe in... the song is about "spiritual materialism"... putting money over love.

KJH: You've been singing, playing guitar and writing songs for about 40-45 years. Has the journey taken you where you expect or want, and can you predict where it may take you in the future? Any new projects to speak of?

PC: 40 years! I just can't bring myself to say that... even tho' its true. There’s people whose grandparents weren’t born when I started playing. So lets just keep it to ourselves, ok? I'm writing a book, nearly done, on its last draft I hope. Songs for an album coming, producing other people, touring touring touring, it’s how I make it... at some point I hope to find some way and place to fall back, but right now my retirement plan is to die on stage somewhere. And the new songs might be best ones yet. That’s the way I look at it.

Canal Street String Band - Sportsmen's Tavern

 

            The Canal Street String Band has been rather busy in a bunch of ways, performing indoors and outdoors, official concerts, yoga centers and lots of other places. This time, we caught them in a more expected site, The Sportsmen’s Tavern,  for the first of a two-set show,  May 26 and the band really delivered.

            The three-piece bluegrass, swing, country, old-time and folk band (you can throw in a bunch of other influences) is made up of Phil Banaszak on fiddle, mandolin, guitar and vocals; Dave Ruch on guitar, banjo, mandolin, spoons, jaw harp and vocals; and Jim Whitford (disclosure: our neighbor) on bass, Dobro, guitar and vocals. This award-winning and VERY talented group of musicians sounds impressive in theory, and they work together quite well as a band, the intricate rhythms of the Canal Street String Band’s music and the interplay between each other never getting in the way or hiding anyone else; the band has a CD, “Introducing the Canal Street String Band” at its web site.

            Not being as well versed in old-time music as I’d like, I may have goofed up some of the song titles, but here is how the first set went; if you know the correct song names, don’t hesitate to let me know.

            The band opened with a country swing bluegrass song (courtesy of Bob Wills) called “Miss Molly,” with Whitford on Dobro and Ruch on guitar nicely texturing some fine jazzy fiddle from Banaszak; the next song was an absolutely gorgeous version of “Shenandoah,” slow and elegiac, with the same instrumentation, and Whitford and Banaszak traded lovely lead work. Whitford played bass on a run-through of “Turkey in the Straw,” and Whitford sang lead on the almost too-much-fun romp of Hawkshaw Hawkins’ “Car Hoppin’ Mama.”

            Next up was the instrumental “Song for a Found Harmonium,” not only enjoyable but one of my favorite new song titles; Banaszak played mandolin and Whitford went back to the Dobro for “Rambler Gambler” and “Keep My Skillet Greasy.” Ruch’s guitar and vocal work may seem more supportive at times, but it is the steady, on the mark work that allows the solo playing to succeed, and when he handles leads, you can tell he is having a blast. Ruch moved to bouzouki and Whitford to guitar joining Banaszak’s fiddle on the instrumental “Wrap That Rascal,” another fun song to which Ruch commented,  “We believe ‘Car Talk’ should replace its theme song with this song.” No word on whether or not the “Car Talk” hosts decided to stop doing new shows in response.

            The Canal Street String Band then added some audience participation (always chancy when someone with a voice like mine is in attendance) with the a cappella sea shanty “Scarafina,” on which Ruch joyfully takes the lead in slightly rewriting the song to be based in Buffalo. This was followed by a Banaszak original (with a bit of help from Ruch) called “Shadowland,” an excellent moody, dark waltz with Banaszak on mandolin. The set was ended with three basically instrumental songs, from traveling music to old-timey, with Banaszak continuing to impress on mandolin.

           

Electrorespect 5 - Nietzsche's

             Electrorespect 5, the annual tribute to the late, and truly great, musician and artist Mark Freeland, held at Nietzsche’s May 5, was another resounding success musically and spiritually.

            The event continues to be coordinated and orchestrated by Carla Levorchick, Mark’s longtime partner, friend, advocate and protector, and as usual, she put in countless hours and effort into another gathering of the tribe.

            The evening opened with Ed Koban and Matt Knott performing “The Feather Meets the Dot,” with Koban playing Native American flute and Knott percussion and dulcimer. It was a lovely, peaceful piece and reflected Freeland’s friendship with Koban and interest and respect of Native American music and culture.

            Kinfolk, a keyboard and percussion duet, performed next, and showed good intentions and occasional talent. On the front stage, Pillow Queen was hurt by some caterwauling vocal problems, causing me to write “ouch” in my notes as the band punished Electroman’s “True Love,” or at least the lines from the chorus, “True love/that’s what I’m living for,” over and over and OVER. Whether it was an interpretation gone way wrong, performance art or an endurance test, it was awful in a way that Freeland may have given a thumbs-up to; me, not so much. Pillow Talk also played a song that sounded way too much like “Lady” by Styx. (For those of you offended by criticism of bands at a tribute, please feel free to make use of the comment function below).

            Cowboys of Scotland, a band led by longtime Freeland friend, compatriot and sometime collaborator Bud Redding (keyboards and vocals) and Steve Myers (guitar, bass, vocals and paint brush), delivered an energetic, emotional set blending tribute to Freeland. Redding composed and the band has performed a rock opera based on the life of Freeland, “Original: The Mark Freeland Story,” from which they played a song, as well as performed “Funk Monster Rap,” a song Redding performed in one of his early bands, Funk Monsters and Woman. Redding has credited Freeland with teaching him how to rap (Freeland was a very early rap fan and enthusiast). Myers created a rather good painting based on some Freeland artwork, The band also played two Freeland songs, “Cowboys of Scotland,” the obvious influence of the band’s name, and the classic, fun and forceful “Go Go Go,” with some muscle from guitarist Robert Raithel and drummer Doug Jones. Redding and Cowboys of Scotland have worked hard to helping keep Freeland’s music alive.

            David Kane, an early member of Electroman who wrote and devised some of the band’s greatest songs with Freeland, performed next, with Darren Cage, who played in later versions of Electroman for years (as well as with Kane in later Nullstadt) on guitar and backing vocals and some percussion tracks. They were joined by a couple of vocalists, including the poorly disguised Donald Kinsman, Kane’s partner and co-creator of Nullstatdt, and Biff Titsle (Anal Pudding). The band performed several David Bowie songs, dating back to when Kane and Freeland performed in Erectronics and loved to cover Bowie; this night, the band played such Bowie classics as “Fashion” and “Station to Station.” But the absolute best part of this set, and one of the best parts of the entire night, was when the band started the long, wonderful introduction to “Girl Power,” co-written by Kane and Freeland, and one of the best songs any Buffalo band has ever recorded (it appears on Electroman’s “Come” album). While the song has been covered before, and well at times, something that has always been missing from those versions is the punchy, almost high-pitched hammer-like keyboard chords Kane pumps in the late part of the intro just before Freeland unleashes a wild solo, As that part of the song neared, it actually seemed like the audience tensed in anticipation of hearing if Kane could/would do it; my wife, photographer Val Dunne, who shot Freeland for years, grabbed my arm and yelled into my ear, “I think he’s gonna do it.” It came to that part…and bam, Kane hit the keyboard part as no one else has done, and the audience basically looked at itself and cheered. The whole of “Girl Power” sounded wonderful and was the best way for Kane to end his set.

            The next set was offered up by Nick Garden and the Hall of Fame Band, either with tongue piercing cheek or a textbook example of a violation of truth in advertising laws. The vocals were painful at times, including on “You Make Me Want to Love You,” and the attempt to cover the Fems’ “Go to a Party” featured keyboards way more prominent than the guitar, a major mistake, as would be covering this song when you consider who followed this band.

            Ending the show, appropriately enough, were the Fems Fatale, the three members of the Fems still living in Buffalo, namely John Walters on guitar and vocals, Kent Weber on bass and vocals and Lou Mang on drums. Smartly, the band basically plugged in, turned the volume up and kicked some ass. The Fems Fatale particularly nailed a fantastic version of “Violation,” and ended with a breathtaking version of Electroman’s “The Day You Came into My Life.”

            Some people complained on my other blog about the need for shows honoring the music, art and person that was/is Mark Freeland, and others just went straight to the personal attack. As long as musicians, friends and fans fondly remember Mark, there will be Electrorespect shows.

Pointless Brothers Reunite for Two Shows

 

            It’s time for another cool, has-it-been-that-long band reunion, as the Pointless Brothers Band, one of the best and most popular bluegrass, acoustic, swing and folk rock bands from Buffalo, will perform two shows with its original lineup, only the second time in 21 years it has done, in July.

            The first show will be held from 7-10 p.m. Monday, July 16, at the Sportsmen’s Lounge, 326 Amherst Street near Grant Street in Buffalo, with admission $10, and the second will be a free show from 7-9 p.m. Tuesday, July 17, at Bassett Park, Young and Klein Roads, Williamsville. The Pointless Brothers are celebrating the band's 35 years of music.

            The Pointless Brothers Band is made up of: Mike Stern, electric and acoustic guitars and mandolin; Charlie Ranney on banjo and backing vocals; Judd Sunshine on bass and backing vocals, and Peter Seman on violin and lead vocals.

            Not so coincidentally, I am listening to the Pointless Brothers “Hyperspace,” their song on the “Airwaves Showcase Volume 1” vinyl album of Buffalo College of Musical Knowledge (BCMK) Records artists as I write this paragraph. I have a feeling there will be lots of friend reunions at these shows as well.

Five Questions With Linda McRae

Linda McRae, one of the finest musical exports (originally from British Columbia, Canada) who is now a domestic resource living in Nashville with husband, poet and writer James K. Whitmire, will perform a full-band CD release show for her new recording, "Rough Edges & Ragged Hearts," at 8:30 p.m. Friday, June 15, at the Sportsmen's Tavern on Amherst Street in Buffalo. Admission will be a ridiculously low $3.

After gaining notoriety as a bassist/vocalist for Spirit of the West, McRae went solo and has previously released two official solo CDs, "Flying Jenny" in 1997 and "Carve It to the Heart" in 2008, as well as "Crying Out Loud" in 2002 credited to Linda McRae and Cheerful Lonesome. She also added playing clawhammer banjo to her acoustic guitar and bass credits, and has played shows and conducted songwriting clinics for inmates at Folsom Prison in California.

McRae was kind enough to take some time from traveling and rehearsing to answer some questions for The Hosey Report.

 

THR: Tell us about your new CD.

LM: It’s really really good! No really! I’m especially proud of my new CD "Rough Edges & Ragged Hearts" for a number of reasons. First and foremost are the songs. I feel these are some of the best songs I have ever written and five of them just happen to be co-writes with my husband James Whitmire and me. That in itself makes it special as that’s never happened before, this is a first for us!

I recorded it in Vancouver BC with my producer/musician friend Marc L’Esperance. Marc and I worked together on my last recording "Carve It To the Heart" as well. We set out to create an intimate, more stripped down version of the songs, something that is closer to how it sounds live. I think we succeeded. Of course there are some songs that have full band treatment as well.

THR: How has your approach and sound evolved over the years?

LM: It sounds corny but my approach and my sound have matured over the years as I gather more experience as an artist and as a human being. I’ve also been performing as a solo artist for the past four years, a very humbling but exhilarating experience in itself. As a multi-instrumentalist who performers alone I’ve had to up my game so to speak because I don’t have another musician with me to fill in the lead parts so I’ve had to learn how to make it interesting for the audience as well as myself by learning how to do that for myself. 

THR: Explain why you turned to the banjo and what it has done to your music.

 LM: I’ve been studying traditional music (clawhammer banjo, Appalachian vocal styles and acoustic blues guitar) thanks to my new-found love of the banjo. I’m loving it and it’s been interesting discovering the common threads that connect all these different styles.

 I’ve learned that less is more in almost everything. I approach songwriting with much more of a sense of economy that I used to. I have also learned the beauty of dynamics and that people take in more (including myself) when they’re not being shouted at. Don’t get me wrong, shouting can be great…but so are dynamics. I used to push my voice way too hard resulting in some pitch problems and fatigue. I’ve learned how to pace myself and how to get the most from the lyric and dynamics are a huge part of that.

THR: Will the June 15 Sportsmen's Tavern show be a solo show, band or some of each?

LM: It’s going to be a band show. My talented friend and local Buffalo musician/songwriter Jim Whitford has put a dream band together for me and I’m really looking forward to playing with everyone. We’ll be doing pretty much everything as a band…no rest for these guys! Aside from my own material, we’re learning a few covers that will be fun too, some Neil Young, Rolling Stones, Hazel and Alice, Townes, etc. Jim Whitford will be on upright bass/vocals, Randy Bolam on drums, Doug Yeomans on guitar/vocals and no opening act.

THR: How does playing solo or with a band effect your music? 

LM: I love playing with a band but I also love playing solo. I miss the camaraderie, the layers of sound and the sheer power of playing with a band. It’s always fun to hear different musician’s take on the music too. Each player puts his own stamp on the music and it’s exciting hearing it all come together. Playing solo is so different. When I’m really having a great night I can tend to stretch more and not worry about the other players knowing where I’m going. I can experiment more. On the other hand if you have a bad night there’s no one to commiserate with or to blame…haha, not that I ever do that!!!!

People can get the CD at www.gotoagig.ca/merch oh and also at the shows. Come out down and say hi!

Michael Oliver and His Sacred Band - Yin & Yanxiety

            It was almost too long a wait, but now that it is here, Michael Oliver’s new CD, “Yin & Yanxiety,” this time with the Sacred Band, is an absolutely wonderful collection of pop rock songs and worth it.

            After two great CDs with Go, Dog! Go, Oliver moved from Buffalo to attend graduate school and go through other changes in his life, and started writing and recording “Yin and Yanxiety” several years ago. He has returned to perform several Buffalo shows, with progress and changes in his news songs and added to a couple of older ones not previously recorded. Oliver’s talent and regard among other musicians showed with the quality of collaborators, from longtime bassist/singer/jack of all trades Michael Swain, keyboardist/vocalist Paul Zablotski and vocalist Erin O’Brien to singer/songwriter Alexandra (Lynne) Arnold, guitarist Jim Whitford (live) and drummer Howard Fleetwood Wilson III.

            While there are several excellent songs here, it is easy for me to pick a standout, the thick, dreamy, slightly sinister “Stranger from Another Planet.” Using virtual free verse, random comparisons and stream of conscious vocals and lyrics, Oliver sings of current thoughts and problems, and questions where to turn. Apparently, one place is to someone from elsewhere, and whether it is heavenly or gallacticly derived he leaves up to the listener, something Oliver has been successful with for years. Whether this comes from a dream, reality or some kind of inspiration is also left to the listener.

            An example of Oliver’s smart, economic approach to pop rock and power pop is the CD opener, “Complicated,” tough, snarling, melodic music, with particularly nasty lead guitar from Michael Lee Jackson accompanying commentary on technology, personal communications and understanding, including matters of the heart and soul. “Love While It Lasted” continues Oliver’s accurate depictions of romantic relationships ending and people carrying on, a riff and harmonizing vocal-loaded pop rocker on which he won’t deny they had a great thing but admits it is over. “This Close to Heaven” mines the same basic upbeat musical territory but adds a smile-provoking Brian May (Queen) lead guitar riff from Swain, illustrating a successful relationship. “Picture This,“ an old favorite of many longtime Oliver fans, has him thankful for being in love and having someone special to share it with; sometimes, it’s all you need.

            The better slower, sadder songs include “One More Day,” with Oliver’s aching vocals and guitar detailing the pain of loss, loneliness and introspection, nicely colored by Zablotski’s keyboard and T.J. Zindle’s trumpet. “I’m Alright Now,” which ends “Yin & Yanxiety,” shows Oliver to still be alive and kicking after the end of something deeply involving and long lasting. Easy acoustic guitar, light rhythm section and accordion aptly accompany him.

            It is interestingly, but smartly, presented after the majestic, soaring, pained rock of another Oliver classic finally appearing on an official recording, “Setting Sun.” The song goes breathtakingly from a slow, barely-audible start to crashing climax (like a great Neil Young song) on Oliver’s trials, errors, attempts, failures and wondering if he is going in the right direction or even going anywhere. Lost loves, friendships, faith and realizing he has to move on are delivered around stately crashing guitars, swelling keyboards and finally the entire band. As good as it sounds on CD, Oliver almost enters another realm when he plays this live, ripping every emotion and note out of his guitar and song.

            For more information on acquiring the CD and related items, contact www.michaeloliver.us.

The Vores - Albright-Knox Art Gallery

            The Albright-Knox Art Gallery was an interesting and somewhat fitting place for the Vores to perform, as the sometimes noisy art rock/art punk band played old and new songs to an appreciative audience.

            Led by original members and songwriters Biff Henrich (guitar and vocals; he considers the band’s sound as “avant garage”) and Gary Nickard (bassist/occasional vocalist), the band has been fleshed out in its resurgence with Cathy Carfagna on keyboard and vocals, Scott Ryan on guitar and Patrick Heyden on drums. The Vores recently released “Common Scar,” a CD of 13 Vores songs and a cover of Bernie Kugel and the Good’s “Walk Around the World” sung by Kugel. While the filling out and shading of the band’s angular guitar approach (which still remains) may offend some old fanatics, as a more than 30-year admirer of the Vores, I think it works.

The Vores opened with “Black Words (Part 1 and 2)”, from the new CD, which goes from a neo-surf guitar intro to virtual Willie Nile rock (see “Cell Phones Ringing in the Pockets of the Dead”). Henrich adds jangle to his guitar lines at all of the right and sometimes some of the wrong times to smart effect. The band followed this with another new song, “Bad Date,” a story in part of a man who seems to mistreat and even dislike the woman he is in a relation with, verging on emotional abuse. Henrich’s guitar had a good, scratchy sound balanced by cool, moody keyboard from Carfagna.

After a couple more new songs, Henrich asked the audience if they wanted to hear any specific songs; before I could yell it, someone from the back (the crowd was rather full of musicians, artists and a writer or two) shouted “Love Canal,” an early classic Vores’ song based on the chemically contaminated area in Niagara County and what it wrought. “OK,” he replied with a smile, and the band launched into a hard, harsh, raw version of the song. Ryan added an on the mark, almost dissonant guitar line underneath Henrich, and Nickard’s bass was pulsing and punishing.

Another highlight was “Emily Says,” from “Common Scar.” Henrich and Nickard played countermelodies while Carfagna, Ryan and Heyden supported them, before Nickard recited a spoken verse, partly sermon, partly monologue narrative, in a cold, almost emotionless voice. In the end, it sounded like a great Velvet Underground tribute/parody.

            It was fun to hear older songs such as “Too Much Pressure” and “Heartbeat,” and the Vores were called back for an encore, ending with “Short Story,” a self-descriptive title. As the audience cheered for more, Henrich sheepishly looked out and said, “No, really, we’re not prepared for this. Nothing on out list.”