‘It’s kind of divine reverb’ An interview with Ray Wylie Hubbard

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Ray Wylie Hubbard‘s latest record, “The Grifter’s Hymnal,” has been in constant rotation in my truck for the past week. Living with it as I did, many questions arose, and I was lucky enough to be able to run them by the esteemed Mr. Hubbard recently via phone from his front porch in Texas.

Matt Sorrell: In the song “New Year’s Eve at the Gates of Hell,” you say you pawned a 1959 Gibson ES-335. True?

Ray Wylie Hubbard: No, you can’t believe everything on that record! Actually, it was a ’56 Stratocaster, but it just didn’t rhyme. That was really kind of a metaphor for all of the guitars I’ve lost. I tell my wife I don’t want a Porsche or a younger girlfriend. I want all of these guitars I used to have.

Is the whole story relayed in “Mother Blues” autobiographical?

Pretty much all of it is true. My wife Judy was the door girl and checked IDs at Mother Blues when she was 16. I didn’t really know her at the time — I used to come in the back door. It was a great, funky little club in Dallas. Like I say in the song, Lightnin’ Hopkins played there, and Freddie King and Mance Lipscomb. After the club would close there’d be poker games upstairs and the girls from the strip clubs would come over and it was a party till dawn. I did meet an old girl there and we went around together, and she ended up going to Hollywood, and I met Judy again 23 years ago and we had our son Lucas. He plays guitar and he’s got that gold top Les Paul.

Is that the guitar Lucas plays on the record?

Yeah, that’s him on “Coricidin Bottle,” “Red Badge of Courage” and “Mother Blues.”

A lot of the record seems to be about you looking back and going over some of your decisions, good and bad. How do you feel about Lucas starting to play and go out on the road?

Well, I’m very grateful to share the stage with him. He says, “I play the music for free, but you gotta pay me to ride in the van with you and a bunch of old guys.” He’s in school now, doing really well, and I’m proud of him. I’m not pressuring him or anything. It’s still just fun for him. I’m just letting him see what happens. Like I say in the song ["Mother Blues"], I don’t know if he’s gonna hang his life on a guitar or not. I’m very proud of him.

Is he playing with you when you come to St. Louis?

No, he’s got finals. It’s just gonna be me and [drummer/percussionist] Rick Richards. That’s what I’ve been doing lately. It’s just the two of us. Lucas will be traveling with me this summer, and Rick will be going out with Joe Walsh on some summer dates, so I’m gonna lose my sense of time.

The songs on this record lend themselves to all sorts of arrangements. A duo would work really well I imagine.

I’m kind of at that age where I get the gig and then get the band. All of the songs were pretty much written with an acoustic guitar, and then we got in the studio and just kinda saw what happened with them.

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Posted by | April 27, 2012 | Interviews, Music | Comment 

Thursday morning music news: Tricky talks up ‘Maxinquaye,’ the Beach Boys spin off new single and Chris Ethridge and Levon Helm pass on

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Musicians remember the late, great Levon Helm. Memorial services will be held today in Woodstock, N.Y.

Enough with the rumors and innuendo already: The Avalanches really do have a new mixtape.

RIP Chris Ethridge, founding member of the Flying Burrito Brothers.

Together again: Conor Oberst’s punk band Desaparecidos.

Brendan Benson chats with Paste about his new album and record label.

KDHX DJ Michael Kuelker talks to Cedella Marley about “Marley,” the movie, and more.

Tricky talks to the Guardian about “Maxinquaye.”

Listen to the new single by the Beach Boys.

Grooveshark is taking it from all sides. CEO Sam Tarantino fires back.

Flavorwire puts together a list of 10 essential bluegrass artists.

Whatever energy supplements Jack White is on, I’ll take a case. The new “Lone Ranger” film, featuring Johnny Depp and Armie Hammer, will be scored by Mr. White himself.

Amy Carter once wrote a letter to the Ramones. Really.

Take some drugs and watch the new Cornershop video featuring Izzy Lindqwister.

The Beatles first show in the U.S. was thought to be lost. It’s not, and it’s getting the big screen treatment.

This week in WTF features Santigold covering “Proud Mary.”

Want J Dilla’s record collection? All 7K discs can be yours, but you’ll have to make the trip to Detroit.

Animal Collective, Deerhunter and Lightning Bolt lend their video support to French DIY joint Grrrnd Zero.

The strange, sad death of Men at Work’s Greg Ham.

What would Hieronymous Bosch say upon hearing Slayer’s “Reign of Blood”? Probably nothing like this.

Watch Beirut perform “Santa Fe” on the Tonight Show.

Cher wants you to buy her key to the city of Adelaide. The city of Adelaide wants Cher to GTFO.

Posted by | April 26, 2012 | Music, News | Comment 

All Aboard for Fun Times: St. Louis show highlights for 4/20-4/21

All Aboard for Fun Times Train

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Sorry for the lateness — putting this together took quite a while…
 
Please note that some of the bands listed below are also playing Record Store Day events (designated below with an *); if times and/or prices for the regular gigs don’t work for you, consider sampling them during the day.
 
All opportunities considered, this Saturday is quite the exercise in overkill; you may decide to not see live music this weekend, but it shouldn’t be due to not seeing anything that’s appealing! To wit:
 
Friday, April 20
 
Mucca Pazza * / The Mad Titans
Firebird  2706 Olive  9-12  $15 (+2 18-20)  Smoke-free
 
Chicago’s MP is a huge circus-punk marching band; I didn’t catch them at their previous appearances here, but heard lots of raves about them — and the videos are pretty crazy/fun. Christian Schaeffer offers an opinion on them for the RFT.
 
TMT, who (to my knowledge) have only played a few shows in many years, play surf/instrumental rock, with an occasional vocal song thrown in. 
 
If a drive to Edwardsville sounds fun, John Paul Keith & the One Four Fives — a Memphis group with appeal for fans of varied roots-rock sounds offered by acts like Webb Wilder and the Morells/Skeletons — play at the Stagger Inn Again (104 E. Vandalia St.).
 
A 9 start is listed, but I can’t find any info on cover/age restrictions/possible other acts. Smoke free.
 
Alt-country rocker Cree Rider, a local who has resided elsewhere for some time, has decided to move back, and he’s celebrating by tonight and tomorrow at the Gramophone (4243 Manchester), joined by different guests each night.
 
Tonight’s the best bet, when the Cree Rider Family Band teams with Brothers Lazaroff, who add their soulful roots rock, while the Feed * bring powerful rock with a slight blues feel. This starts at 9, with a $10 cover (2 more for 18-20). Smoke-free.
 
Cursive / Cymbals Eat Guitars / Conduits
Off Broadway  3509 Lemp  9-12:30  $10 advance/12 door (+2 under 21)  Smoke-free 
 
Omaha’s Cu offer melodic,energetic rock. Ryan Wasoba interviews Cu frontman Tim Kasher for the RFT.
 
I didn’t have time to assess NYC’s CEG or Co, who are also from Omaha.

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Posted by | April 20, 2012 | Local, Music | Comment 

Thursday morning music news: Occupy Wall Streets gets an album, St. Vincent and David Byrne get together and Dick Clark gets a fond farewell

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The world’s oldest teenager has died. RIP Dick Clark.

Tupacogram may be coming to a venue near you soon.

And just how did they make that thing after all?

Maybe the Olympics should get a hologram Keith Moon.

The world’s biggest mouth is getting a visit from the Secret Service.

Tom Petty gets his guitars back.

You know that story that you read on Facebook, the one about the woman who got knocked up at a Motorhead concert and is looking for the father of her child on Craigslist? Too metal to be true.

KDHX’s Hear and Now is streaming the forthcoming album by the Waco Brothers and Paul Burch.

St. Vincent and David Byrne hook up.

Occupy Wall Street will have a benefit album, featuring Yo La Tengo, Mogwai and Willie Nelson.

You probably have an old iPod around somewhere. Find it and donate it to Music and Memory.

There would be no Stax soul without the horn section; there would have been no section without saxophonist Andrew Love, who has died at the age of 70.

The new Metric album, “Synthetica,” will feature a cameo from Lou Reed.

Rush shares a track from its forthcoming album.

Paste picks its top 25 songs of the year thus far.

Sadly, Robin Gibb’s health continues to decline.

Amazon wants your old CD collection but won’t give you much for it.

M.I.A. + Wikileaks = mixtape love.

In honor of Record Store Day this weekend, PopMatters talks to some musicians about their favorite shops.

If you go to a show and spend it looking at your phone, the Voice would like a word with you.

Viewer discretion advised, as once seen it cannot be unseen: Coachella fashion.

Paul Banks of Interpol goes solo on new EP.

The family of Levon Helm announces that he is in the final stages of cancer.

The Alan Lomax Global Jukebox is a major label, in the best of ways.

The Ramones first one-sheet is one of the greatest things ever.

Kraftwerk hasn’t released a new album in nine years but Ralf Hütter says that’s about to change.

Flavorwire ranks its top 30 it’s-really-really-really-over songs.

Posted by | April 19, 2012 | Music, News | Comment 

Levon Helm in the final stages of cancer

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For years now, one of the irrefutably great voices and drummers in American music, Levon Helm, has been fighting cancer. Since his first diagnosis, he has continued to perform and record, adding ever more music to an already amazing story.

But that story is coming to an end. Levon’s daughter Amy and wife Sandy recently sent this letter to the Americana Music Association:

Dear Friends,
Levon is in the final stages of his battle with cancer. Please send your prayers and love to him as he makes his way through this part of his journey.

Thank you fans and music lovers who have made his life so filled with joy and celebration… he has loved nothing more than to play, to fill the room up with music, lay down the back beat, and make the people dance! He did it every time he took the stage…

We appreciate all the love and support and concern.

From his daughter Amy, and wife Sandy

His music will live on.

Posted by | April 17, 2012 | Music | 1 Comment 

‘We really are a family’ An interview with St. Louis band Palace

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Palace plays like an indie band on their way to Broadway. With post-angst four-part harmonies and themed live shows, the St. Louis locals energetically perform pop somewhere in between Queen and Fun.

Recently I had a chance to chat with the band — who will be performing at Back to Rockville: A Tribute to R.E.M. and 88.1 KDHX Benefit on April 27 at Off Broadway — on a variety of subjects.

True to their refreshing, youthful sound, lead singer Matt Kavanagh explains why the band claims to sound like your childhood. Drummer Danny Hill relates how Palace formed as a family of musicians. Vocalists Jamie Finch and Sydney Scott discuss what goes into planning a birthday-themed CD release show, while new members Benjamin Koenig and Phil Grooms offer their own perspectives on how Palace operates.

Matt Stuttler: How did Palace form?

Danny Hill: It started with me and Matt. Basically we had several projects going on right after high school, just trying to get a start with music. You know, just learning, going through the steps of being immature musicians and not really knowing how to approach the local scene. Even the industry in general — we just didn’t really know much about it. We knew we loved music and that’s what we wanted to do, which is why [Matt] quit going to school and I didn’t go at all. That’s basically how it started. We just wouldn’t quit. We’ve gone through so many musicians changes; so many people have been involved in our projects.

Matt Kavanagh: Different genre changes. We finally got to Palace, where we’re at now. We’re sticking with this, we have a formula that works. For me, personally, I got an unbiased opinion from somebody about “Treetop Lover,” one of our songs. She had an unbiased opinion about western music and she just came up to me and said, “I love this song.” She’s Japanese. I was like “Okay, if she likes this music just for face value, then I’m going to run with this.” Ever since then, it’s kind of been like that.

I know Danny and Matt have played in bands in St. Louis in the past. Have you other guys been involved in other past bands?

Sydney Scott: I was actually in their band when it was Crash! That was three years ago. Just for a short amount of time, I guess it was around six months.

DH: We worked on one song for six months (laughs).

SS: One song. (laughs) That was my start. That’s when I met Matt and Dan.

MK: That was 2008.

Jamie Finch: Around that same time I was singing in Say Panther. That’s when I first met Danny. I remember him coming to Say Panther shows, then knowing he was playing in Crash. Kind of a funny thing, here four years later we play music together.

Phil Grooms: I come from a very different, other wing as far as bands are concerned. I came from the emo scene in St. Louis, which was really big for a while after Story of the Year and all that. So I played in a band called Farewell. Then I found these guys, and they let me in.

JF: Phil and I have had some unsuccessful attempts at projects in the past. We’ve known each other close to 10 years at this point. It’s good to finally be doing something together that works now.

PG: Definitely.

BK: This is my first major musical project, I’d say. Music has been a passion of mine for over a decade, and I’ve always like dug really deep into the instruments. There’s something instinctual to my outlook to music and I think it’s brought me to Palace. It’s been really cool.

DH: It’s been great having Phil and Ben join recently.

JF: Two new people in two months.

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Posted by | April 16, 2012 | Interviews, Local, Music | Comment 

Cedella Marley: On MARLEY the Movie and Being Daughter of a Legend

by Michael Kuelker

Cedella Marley [photo courtesy of cedellamarleydesign.com

Cedella Marley, the first child of Bob & Rita Marley, is the CEO of Tuff Gong International. A recording artist best known for her many years as a vocalist in Ziggy Marley & the Melody Makers, Cedella Marley has also established herself as a designer, entrepreneur and philanthropist through her clothing line, books and 1love.org. She is married with three sons.

Ms. Marley spoke to me from her home in Miami, Florida, on Friday, April 13, a week before the opening of Marley, a new documentary film about her father. Drawing on new interviews and using hitherto unreleased video, director Kevin Macdonald (The Last King of Scotland) explores the artist who emerged from small circumstances (born in 1945 in the village of Nine Mile, Jamaica) to become the first Third World superstar, one whose presence continues to shine brightly in the 21st century.

Marley opens on Friday, April 20 at The Tivoli Theatre in University City. Check local listings for show times.

MK: First of all, maximum respect for the musical work, the cultural work and the charitable work you are involved with. I want to ask about all of that, but let’s go first with the new documentary. What about the film do you like best, and can you point to something that director Kevin Macdonald does especially well in your view in his handling of the material?

Cedella Marley:  It takes you on a journey. You start off laughing, and you enjoy the cast of characters [Cedella chuckles] as they appear. For me personally, I came away with a better understanding of the last couple of months of Dad’s journey. I think with Kevin what was great is that he found people that we’ve never heard from.

My auntie Constance, we’re always in touch. [Constance Marley and Bob Marley have the same father, Norval Marley, whom Bob barely knew.] But I have never really asked her what was the relationship like with Dad, if any, because I knew there was never was really one when they were growing up. To hear her and how she felt about how the Marley side of the family even treated her and Dad … it was good to hear her.

It was also wonderful that Kevin found the nurse in Germany. [Bob Marley was treated for cancer in Germany in the months before his death in May 1981.] I couldn’t believe … How? How did you actually go and find that lady? It was good to hear her talk about Daddy, the person we knew; he was a nice person. So I thought [Macdonald] did an amazing job.

I’ve always wanted to know what kind of sense of humor your father had. What kinds of things made him laugh?

[Cedella chuckles.] He would laugh at anything. I think too that having always having all these different people walk into Hope Road every day, you would definitely see some characters. [Bob Marley lived at 56 Hope Road in Kingston beginning in the mid- 1970s. The residence has since become the Bob Marley Museum.]

I remember him telling us this story – let me see if I can remember it properly – this lady who just kept coming back to Hope Road with different-different stories. She was crossing the street and a car hit her in the leg. That was her one day. Then she came and said a bus came and lick her in the other leg, and then that was the story for that day. Then the third day she was crossing the street [Cedella begins to laugh] and somebody inside of a vehicle threw something and it hit her in her head

And when he would tell you these stories, we were like cracking up. People would actually come to Hope Road with different-different stories … and of course he would always give them something to leave with.

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Posted by | April 15, 2012 | Culture, Interviews, Music | Comment 

Cabaret capsule: Jeffrey M. Wright shows his Southern Roots at the Kranzberg, April 13 and 14, 2012

Jeffrey M. Wright: Southern Roots
The Presenters Dolan at The Kranzberg Center, St. Louis
April 13 and 14, 2012

[Full disclosure: I have worked on stage with Jeffrey M. Wright, Carol Schmitt, and Tim Schall in the past.]

Call it nostalgia or simple habituation, but the fact is most of us have strong emotional attachment to the music with which we grew up. It’s no surprise, then, that those of us who are cabaret performers often return to the soundtrack of our childhood when we think of material for a show.

St. Louis actor and singer Jeffrey M. Wright’s Arkansas childhood was filled with the sounds of Nashville country and crossover music, as well as Southern rock. His Southern Roots show is a celebration of that heritage, with songs ranging from mainstream hits like “Wichita Lineman” and “Help Me Make It Through the Night” to country rock classics like Elvis Presley’s 1969 hit “Rubbernecking” and newer songs like Sara Evans’s “Suds in the Bucket” from 2004. It’s a tremendously enjoyable evening of material not often heard in a cabaret context and a reminder, once again, that the cabaret tent is large enough to encompass a range of music styles that goes well beyond the Great American Songbook.

Mr. Wright is a very engaging and polished performer with a fine light baritone voice. He’s at his best in songs like “Southern State of Mind” and “I’m Still a Guy” where he can bring the full force of his charm to bear, but that doesn’t stop him from capturing the rueful subtext of Trisha Yearwood’s “The Song Remembers When” or finding a somewhat surprising angry edge to a voice and guitar arrangement of “One For My Baby”. Overall I’d say the choice of material in Southern Roots has given Mr. Wright a chance to expand his dramatic range that he probably doesn’t get that often in his theatrical work. Which is, of course, one of the reasons some actors enjoy cabaret so much in the first place.

Carol Schmitt’s inventive arrangements, stylish piano work, and backup vocals demonstrate once again why she has become such a popular music director for local singers. Guitarist Steve Schenkel adds just the right amount of country seasoning to the mix, along with some impressive solo breaks. And director Tim Schall’s hand can be seen in the show’s pacing and dramatic shape.

There’s one more performance of Southern Roots on Saturday night, April 14, at the Kranzberg Arts Center. For more information, visit licketytix.com.

Posted by | April 14, 2012 | Concerts, Culture, Local, Music | Comment 

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