SUBMIT: THE DELI'S BEST OF 2013 YEAR END POLL
Independent Bands and Artists,
THE DELI'S YEAR END BEST OF [YOUR SCENE] POLL IS BACK! ! - it's free.
SUBMIT YOUR MUSIC HERE
(see prizes below)
PRIZES: FEATURE IN SXSW ISSUE + RECORDING SOFTWARE
Once again, the big prize for the Year End Poll winners is to be featured on our upcoming SXSW issue (see last year's edition on the left, read it in pdf HERE), and this year we'll also have a bundle of recording software (to be announced soon).
HOW IT WORKS
The process to determine these lists is rather complicated - if you want to try and get your head around it, be our guest and go HERE. But if all you are interested in is to be part of it and get some exposure, then read on.
The first phase of this poll allows ANY BAND OR SOLO ARTIST based in one of the scenes we cover to submit their music for a minimum of 3 spots in the pool of the "Best of" your city nominees. This phase starts right NOW!
Submit your music to The Deli's Local Scene Year End Polls
A team of Deli writers will choose a minimum of 3 artists that will be added to the pool of nominees for the next phases of the poll. The bands selected will be announced in early 2014.
Please spread the word about this and good luck!
Published: November 21, 2013 |
David George releases "Tonight's Child" for the holidays
David George has amassed an all-star team of Kansas City musicians to be a part of his Christmas single “Tonight’s Child,” which is released today.
The composition, originally written by George for his niece and nephew, also features Shay Estes on vocals, along with Johnny Hamil (upright bass), Giuliano Mingucci (drums), Mark Lowrey (piano), Betse Ellis (violin), Ben Byard (viola), and Christine Gross (cello). String arranged by Ellis. The song was recorded, mixed, and mastered by Duane Trower at Weights and Measures Soundlab.
The single is available for $1 through Bandcamp. All proceeds until Christmas will go to the Coats For Kids Foundation.
Next Sunday, December 15, George and friends will take over recordBar for a benefit show for Coats For Kids. The show will kick off at 7 p.m. with A Crooked Quartet (Gross, Ellis, Hamil, Byard) and vocalist Melissa Bollman. At 8:00, The Crooked Christmas Band will perform a few holiday songs. David George & A Crooked Mile will hit the stage at 9:00. Tickets are $10 adv/$15 day of, half-price with the donation of a new or used coat. Facebook event page.
Published: December 09, 2013 |
Show recap: Murder Ballad Ball 5 - The Verdict
(Photo by Sondra Freeman)
Another Murder Ballad Ball has come and gone, leaving a ghostly smile playing about the lips of those who attended that will be a source of puzzlement well in the coming week to those we come in contact who didn't attend.
Saturday night, The Verdict, was seven hours of music by some of Kansas City's best musicians performing at The Living Room Theater. The music got started at 6:00 with A.J. Gaither doing a one-man set playing his homemade cigar box guitars and a kick bass, doing mostly original material, except that gospel number he snuck in there because hey, the crucifixion is the most famous murder of 'em all, right?
Next up was perennial KC bluegrass favorite Loaded Goat, romping through a five-song set that had the crowd that was starting to trickle in and fill up the place on their feet and dancing from the first notes of “John Hardy” to the final notes of “Six Feet Down.”
Next up was David George and cellist Christine Gross doing a stripped-down six-song set of Crooked Mile tunes that had the crowd that was ready to ride off and rob the Glendale Train with Loaded Goat a few minutes before paying rapt attention so as not to miss any of his subtle turns of songwriting phrase.
The fourth act of the night was Damon Parker who did a solo-set—just him and his electric piano—reminiscent of Dr. John and New Orleans. His rendition of “Seven Spanish Angels” gave me goosebumps, and the strains of “Night Train” hung in the room long after he had left the stage and the next act was setting up.
Mikal Shapiro put together an all-star ensemble for her set, with the one-and-only Betse Ellis on bass, Amy Farrand on drums, and Chad Brothers on lead guitar. Her set opened with a version of “You Are My Sunshine” that my Nana never sang to me, moved into her original song “Technicolor,” followed by “Dublin Reds,”(her interpretation of Townes Van Zant's “Dublin Blues”) and they finished their set with the timeless Leonard Cohen classic “The Future .” Here's hoping we see more of this project in the new year—these musicians just jell when they come together. Each and every one of them is absolutely fabulous in their own right, but never has the phrase “the whole is greater than the sum of its parts” been more fitting.
Anthony Ladesich—Kansas City's answer to Steve Earle—was up next, and he played seven original songs, each one a narrative, and each one a true murder ballad. His set started with “To Vanish and Fade,” a haunting tale of a man who kills the banker who comes to foreclose on his home, then segued into the even more haunting “Down Bellfontaine,” about a serial killer stalking and murdering his first victim. The tune that stuck in my head was “In the Cut”: “we'll get in quick and get out quicker, we'll get high when we get done” about two guys who rob a liquor store, but it's a double cross, and one of them kills the other one—but he got high when he got done.
Kasey Rausch, who never disappoints, delivered a knock-out set with alternating supporting musicians. Her first song was “I Used to Love Her,” sang with her sister Kim Rausch McLaws; the sisters delivered some of the tightest harmonies you'll ever hear this side of the Ryman. She finished her set with the Rural Grit All-Stars doing another superb rendition of “Seven Spanish Angels.”
The Rural Grit All-Stars have been holding the fans of roots music in thrall for years. I worked for Roger Naber at the Grand Emporium when the Rural Grit Happy Hour got started, and when the news spread through the music community that he had sold the bar, the most common question I got was, “What's going to happen to Rural Grit?” (It has had a couple of homes since then, but it's still going strong, Monday nights from 6:00-9:00 at The Brick, and the cover is still only three bucks.) The All Stars performed their own set, and its various members performed with other acts throughout the night, especially Betse Ellis. She was, without a doubt, on the stage more than anyone else. It seemed like she played with more acts than she didn't; this is not a complaint, it is simply an observation, smug and self-satisfied in a my-town-is-better-than-your-town-for-live-music sort of way.
The Silver Maggies are always great, and always loud, and Saturday night was no exception. They brought their “A” game to the Ball and crushed it with a wall of sound.
The Philistines were the penultimate act, kicking their set off with the original number “Stygia,” then following it with a few covers, the first one ‘80s college-rock classic by Adam & The Ants, “Killer in the Home.” That was followed by Neil Young's “Revolution Blues .” Cody Wyoming and Kimberly Queen, the couple that makes up the beating heart of The Philistines, are huge fans of ‘80s college rock, and they went back to that well for “Killing and Arab” by The Cure, and finished the set with “Para” by Calexico.
Since Murder Ballad Ball is the brainchild of Cadillac Flambe (pictured above) frontman Kristopher Bruders, they took the stage last and played until closing time, holding the rapt attention of the die-hards who were still hanging in there at 12:30. Once they got the technical issues with the piano resolved, they blew the roof off the joint. Havilah Bruders has a voice so powerful it can make the hair on the back of your neck stand up when she belts out a murder ballad, and no drummer has ever had more fun with a kit than Michael Payne, but bassist Dave Duly gives him a run for his money. For all intents and purposes, when they're playing, the Cadillac Flambe rhythm section is like kids at recess.
Much appreciation to The Living Room Theater for the use of the space and to their staff for putting up with a bunch of rowdy music fans, to the tireless efforts of both Rhonda Lyne and Sondra Freeman who work non-stop to make sure every Midwest Music Foundation event comes together seamlessly, to all the vendors who donated items for the raffles and silent auction, and to the talent for showing up and entertaining us and bringing us together for such a good cause...the health and well being of Kansas City musicians. As I like to say, before the country had Obamacare, KC's musicians had Abby Care.
Published: December 08, 2013 |
Album review: The Noise FM - Attraction
(Photo by Todd Zimmer)
Some music moves you and some gets you moving. Attraction by The Noise FM is definitely music to move to. I’ve been listening to this for the last few days while working and it’s impossible to not tap a foot or bob my head.
The album opener, “Ghost in the Microphone,” is a great overview of what to expect for the rest of the album, starting with some ambient noise and moving to a jerky drum fill, then into a driving rock song.
“Crooked Smile” augments the pop-rock feel with a mid-tempo groove pushed by a nicely syncopated muted bass and a punchy four-on-the-floor drum beat.
The album continues with and alternation between poppy, sometimes airy, gentle sections followed by a guitar heavy movement. The arrangements are evocative of Jimmy Eat World or The Foo Fighters all sent through a dance rock filter.
The genre-bending songs are given great treatment with the mindful production. The sounds feel carefully tailored to each section. The fast, harsh reverb on the drums in “The Attraction” aren’t used on “Scam Artist,” which benefits from the drier, closer sound. Densely layered vocals are the norm throughout the entire album—it’s a rare moment where a voice is presented alone. Many times the harmonies blend in to the keyboards and are only noticeable when they diverge into separate parts.
The band’s tag line—“Chicago indie-rock by way of small town Kansas”—is fitting for anyone familiar with the music that comes from the Midwest: Hard, dissonant, poppy, and atmospheric all in one piece of music.
And here's the official video for "Every Other Word," off Attraction :
Published: December 08, 2013 |
Artist Spotlight: The Philistines
One of the newer additions to Kansas City's musical family, The Philistines are making themselves heard on the strength of a playlist in which you can hear sounds inspired by the Velvet Underground, the Black Angels, and Calexico, among others. If bands aim to be greater than the sum of their parts, The Philistines will have their work cut out for them, as this sextet includes some of KC's most well-known and experienced players. The Deli KC would like to know more ...
The Deli: Give us a thumbnail description of the sound of The Philistines.
Cody Wyoming : Psychedelic rock. Sometimes heavy, sometimes dreamy.
Kimberely Queen : Go-go acid pop.
Steve Gardels : Loud, drippy '70s-era psych with a '60s pop attitude.
Rod Peal : Psychedelic pop stoner rock, the best of all my favorite genres.
The Deli: How did the band come to be?
Cody : While we were cold and snowed in last winter, we started making music and writing songs together. Then we did a few live shows as a duo and quickly decided that we needed to expand.
Kimmie : I wished REAL hard.
Steve : I found myself bandless after 4 years with Appropriate Grammar . Cody sent me a message about jamming together, and I wound up with an unexpected day off. I headed down to Midwestern Musical Co. , jammed through a couple of things and decided to see where it went. Next thing I know, they're packing out the roster with talented people and I started to fall in love with the songs. Pretty cool for an informal afternoon jam!
Rod : Just sort of happened. Cody said he had something cooking he thought that I would like. It’s all been very natural, unlike any other project I’ve been in.
Michelle Bacon : Cody approached me shortly after we played the Rolling Stones tribute (in our respective bands), and I jumped at the chance to work with him and Kimmie, not knowing who else was in the project. Judging from how well the six of us have meshed in a pretty short time, he has a great sense of putting different levels/types of ability and personality together to make a band work.
The Deli: At your debut show at The Brick last month (which was excellent, by the way), it seemed that psychedelic-influenced sounds were the main path that you will follow in the future. What is it about that genre that’s so appealing?
Cody : I’ve always been in to psychedelic music, but for some reason its influence never showed itself in my original work. Since I took a turn down this path it’s like a dam broke. Both the quality and volume of my output has increased enormously. I like psychedelic music for its transcendent qualities. That’s kind of the point of it. To help you get “out there.” When done right, it works on you on a very subconscious level. I hope I do it right.
Kimmie : It's just what's been speaking to me the clearest artistically in music, film, and design.
Steve : I'm a metal head! I'm a big fan of anything dark or heavy, and what we play tends to do both; even at the same time! I find myself taking apart and repurposing licks from Iron Maiden and Black Sabbath a lot. The great thing about this is that everyone in our band has broad musical tastes, so I hear new stuff every week and try to take home things I like and see if I can't work them in to my parts.
Rod : It’s everything I want wrapped up into one package.
Michelle : I love the groove, weight, and atmosphere of psychedelic rock. Really, I just love playing gritty, unapologetic rock ‘n roll, and it’s new and exciting to me because I’ve only played bass in one other band.
The Deli: Who influences your music?
Cody: The Flaming Lips are a big influence, but also The Velvet Underground, Love and Rockets, Mazzy Star, The Brian Jonestown Massacre, The Jesus and Mary Chain, and Black Sabbath. But hidden under the feedback and reverb, there’s some pretty basic early rock ‘n roll and even girl group influences. There’s some Buddy Holly and Elvis in there as well as The Ronnettes and the Crystals.
Kimmie : Love and Rockets, the Velvet Underground, The Jesus & Mary Chain, Sabbath, and Black Rebel Motorcycle Club are probably the most obvious influences. Some others are Italian and British horror cinema of the ‘60s and ‘70s, Hugh Hefner, and The Monkees.
Rod: Queens of the Stone Age, Kyuss, Stephen Malkmus and the Jicks, The Beatles, The Stones, The Sonics, The Stooges, Expo ‘70 .
The Deli: Everyone in The Philistines either is or has been involved in other projects as well; does having so much going on outside the group make it easier or more challenging to create new music?
Cody: I have always had a short attention span, musically speaking. I’m interested in a lot of different and sometimes seemingly disparate things, and I feel that I need to cultivate them all. Sometimes it leaves me a little scattered. But I think it’s important to explore your interests. I’m glad everybody in this band does other things; I want everybody in my band to be as creatively fulfilled as they can be. I never want somebody to get resentful of the band because they’re feeling stifled or something.
Steve : The other groups I've played with are SO different from what we do that no one is in direct competition with another. I learn new tricks at each practice, so I get to apply things across all of my bands to see what works. I'm broadening my abilities as a drummer and learning new styles at the same time. It's pretty wonderful.
Rod : I’m one of the only ones that hasn’t had a project recently. I think that everyone else’s projects have been an attribute to this one.
Michelle : All of my projects teach me different techniques and allow me to express a different part of myself. None of them interferes with one another. It certainly keeps me busy, but I wouldn’t trade it for anything else.
The Deli : You’re a new band trying to get gigs; obviously most of you are already well known in the music community and have name recognition, so how much does that help when it comes to finding places to play?
Cody : Yeah, fortunately we all independently have fairly good reputations and relationships with venues. And obviously that helps immensely. But since we’ve only played a couple gigs so far, only time will tell.
Kimmie : Yes, I guess we are all well-known in certain circles. Which means we all work really hard towards our interests. It's a product of our time, work, and efforts if anyone wants to beef over it.
Steve : I'm happy to say that we have no problem finding shows as a result. We've only played three, but we seem to get great lineups at cool venues with little to no difficulty.
The Deli: Cody, what’s it like to be in a band with Kimmie? Kimmie, what’s it like to be in a band with Cody? Everyone else, what’s it like to be in a band with Kimmie and Cody?
Cody : It’s a blast. I’ve never worked creatively with a significant other before. It presents its own sets of rewards and challenges. Because Kimmie is so damned talented and she’s also my best friend, the rewards significantly outweigh the challenges. But also challenges are bitchin’, because overcoming them is how you learn. I love collaborating, and I think we collaborate well together.
Kimmie : Being in a band with Cody is like being on the Zipper at Santa-Cali-Gon with my best friend who I have a big crush on. Being in the band with the rest of The Philistines and Cody is like being on the merry-go-round with the Lost Boys.
Steve : They're adorable. And smart. And hilarious. I've gotten to know them a lot better over the last few months and they are great friends and walking encyclopedias of cool stuff. They demand nothing less than the best, but they make us want to put it forward. It's a really great and creative working environment with a family atmosphere.
Rod : Cody and Kimmie are the duke and duchess of the Kansas City music scene. They are pure, 100% unadulterated rock ‘n roll.
Michelle : Cody and Kimmie make me pop all of my Latenight Collars. Their collective energy and musical abilities simultaneously challenge me and make them a blast to work with. Same thing goes for Josh, Rod, and Steve.
Note: Josh Mobley is the band’s keyboardist, and was unable to participate in this interview.
The Deli: With whom would you like to work in the future, locally or otherwise?
Cody : There’s a lot of great psych stuff going on in the area these days. I’m a big fan of The Conquerors , Bloodbirds , Expo ’70, and Monta At Odds , among many others that we would love to play with. But I’m always thrilled to share a stage with any kind of good music and I’m a big fan of diverse bills. I’d love to share a bill with a sword swallower, a DJ, and a string quartet .
Steve : BLACK MOUNTAIN . Or Nick Cave . The Conquerors. Snake Island! ... It's really hard to make a short list because there's just so much cool stuff going on around KC as well as coming through. The possibilities are endless! I'm just excited to see who we wind up with and where. 3 shows out and we're playing with bands that I LOVE seeing live. Here's hoping for a continuing trend of badass rock and roll.
Rod : I owned a store called Halcyon and met almost everyone in this music scene through that experience. There are very few that I would not like to work with. But in particular I’d like to work with Justin Wright of Expo ‘70, Jeremiah James of Redder Moon , and Dedric Moore of Monta At Odds.
The Deli : This goes out to whoever is brave enough to answer: what’s your musical guilty pleasure?
Cody : This is kind of a copout. But I refuse to feel guilty for anything that I like. But I do feel a little occasional twinge for Sting’s work in the ‘90s.
Kimmie : ‘80s Casio funk.
Rod : Yacht rock. In particular, Loggins and Nicks duets.
Thank you to The Philistines for taking some time for The Deli KC. Best of luck in your future endeavors!
The Philistines are:
Cody Wyoming – guitar, vocals
Kimberely Queen – vocals
Michelle Bacon – bass
Rod Peal – guitar
Josh Mobley – keys
Steve Gardels – drums
Michael's musical guilty pleasure is Air Supply (I KNEW it!). Don't tell .
Published: November 23, 2013 |
Album review: Black on Black - Get On With It (EP)
At this point, it seems impossible for Lawrence band Black on Black to make a bad record, at least not in this reality. With its latest album Get On With It, Black on Black has completed its climb to the top of the heap as King Shit of Rock n Roll Mountain. It stands—in my opinion—as the best band in town, in the state, in the region, bar none. Many try gallantly and come close, but few have the realism, the emotion, or the genuine aggression that lives between the lines of every song Black on Black delivers.
The album blasts out of the gate with 2 minutes and 32 seconds of power on “Fork In The Road.” It changes speeds, throws the listener off center, and blows minds. With this album, Black on Black has managed to make their best, most powerful, grittiest music of its thus far short but stellar career. This is the band’s crown jewel of a record exploding in 12 minutes; that’s right—five songs in 12 minutes, and nary a repeated word or laziness in a chorus. Songs are written by cutting the fat, removing all bullshit, and making a punk rock record devoid of gimmicks, full of conviction and gnashed teeth spirit.
On “The Good Fight,” frontman Wade Kelly spits “I’m at the end of a short leash / I keep running,” and this is the perfect analogy for the life of Black on Black. From Help Yourself to Let’s Get Cynical and now, Get On with It, Black on Black has chiseled away at a world that tries to pigeonhole musicians, molds them for MTV, and throws them away after the powers that be tell their automatons to grow tired of their music and move to the next big thing.
With Get On With It, there seems to be no agenda other than to rip rock a new asshole. Aaron Riffel’s bass, John Benda’s drums, and Kelly’s guitar work come together in a dog fight on “Car Fire,” each trying to outdo the other while the vocals are distorted at times beyond clarity, collapsing in a pile of spent fury. As with Help Yourself and Let’s Get Cynical, pop melody does exist sporadically on Get On With It but only to push the songs deeper into your head; their catchiness deceives you, like the Serpent in the Garden, lulling you to peace, calling you to taste the fruit before you.
Black on Black has taken everything it has done in its previous EPs and mixed it all, roughed the already splintered edges, threw in influences like Death, Fugazi, Sunny Day Real Estate, Jawbreaker, Bad Religion; and what comes pouring out is genuine, fierce, intelligent, and incendiary. While some punk bands leave me cold in my old age, getting by on regurgitated stuff to live in the shadow of perceived cool, Black on Black rings true. It’s a group that clearly does not care about being cool, but only cares about rock ‘n roll.
That's the way it should be.
--Danny R. Phillips
Danny R. Phillips has been reporting on music of all types and covering the St. Joseph, MO music scene for well over a decade. He is a regular contributor to the nationally circulated BLURT Magazine and his work has appeared in The Pitch, The Omaha Reader, Missouri Life, The Regular Joe, Skyscraper Magazine, Popshifter, Hybrid Magazine, the websites Vocals on Top and Tuning Fork TV, Perfect Sound Forever, The Fader, and many others.
Published: November 19, 2013 |
Spotlight on Tim Finn, music writer at The Kansas City Star
Tim Finn has covered the local and national music scene for The Kansas City Star for over two decades. In that time, he's seen hundreds of concerts and interviewed hundreds of musicians. Barry Lee, host of KKFI's Signal To Noise, felt it was time someone interviewed Tim.
The Deli : When you first started your career as music writer for The Kansas City Star , what ground rules did you set for yourself for writing concert reviews?
Tim Finn: Foremost: don't use a live review as a format for critiquing (or disparaging) the music. A review of a live show is different from a review of an album. The music itself isn't the primary focus, the performance is. No one attends a rock concert like they do a movie or a restaurant. You buy a ticket to a rock show because you've already decided you like/love the music. Likewise, no one goes to a movie knowing they hate the genre, or a to restaurant knowing they hate the cuisine. So, even if I must go to a show to see a band I don't like or whose music I don't like, I don't trash the music itself. Instead, I do some consumer advocacy: was it long enough? Did they do most of their hits? How did the crowd react? How was the sound? And in the middle of that, I may lay down a context that may illuminate my opinion of the music: "they're a mainstream hybrid/derivative mix of Band X and Band Y..." and leave it at that.
We typically stick to the large shows, the ones that attract big crowds (and more readers). Occasionally, we will review a local show. But I'd rather preview local bands/shows and mention the high quality of the music and the live shows and hope the exposure gets more people to those shows.
The Deli : During those first years covering the local music scene, which bands or artists caught your attention as being the most interesting?
Finn: Those were the years of Outhouse, Season To Risk, Shiner, Molly McGuire, Tenderloin, Frogpond, Grither, The Gadjits, Mike Ireland, Iris DeMent.
The Deli : What role, if any, did local record stores play in KC's music community?
Finn: Well, Anne Winter had a profound influence on me on my role as a writer and reporter, then as a friend. She either introduced me to people or bands, or advised me to get in touch with them. Recycled Sounds was the nerve center of the local scene for so many years. For awhile, I was going in two or three times a week, not just to buy music, but to hear about what was going on. Or see an in-store.
The Deli : Historically, local artists often felt that it was necessary to leave Kansas City if they wanted to be successful and make a living playing music. Do you think that's still true today?
Finn : There's evidence to support that. Janelle Monáe being one example. And it was sad to see Miles Bonny move away. But I don't think it's necessary, especially today. I think you can certainly start lots of momentum here and then generate it elsewhere. Look at Radkey. Or Making Movies. Or Beautiful Bodies. Or The Architects. The Republic Tigers. The Elders. The Wilders. Tech N9ne still lives here.
The Deli : What's your assessment of the current state of our local music scene?
Finn : I listen to more local bands just recreationally now than I ever have. Too many to name. So, there are more good bands these days, in every genre, I feel safe saying, whether it's indie-rock/pop, singer-songwriter, hip-hop, hard rock, country... There is more variety, too. And what I like most of all: way more collaborations, whether they are side projects or tribute shows. There has always been a strain of jealousy (or envy) within this music community. But I think this has subsided and there seems to be way more collaboration and internal support than there used to be, especially across genres. I love it when, say, Hermon Mehari, a jazz trumpeter, jumps in on a set with a rock band.
The Deli : Are there any local bands or artists that are not yet well know that should be?
Finn : So many local bands have been given the big label opportunity over the past 15 years, and many have come so close. But very few have cashed in on it, mostly because you have to be as lucky as you are good, it seems. Or maybe luckier. Music isn't sports, where the spoils go to the most skilled.
If I had to name one that I think has the sound, the recordings, and the live show to be a successful touring band I'd say The Grisly Hand. And I've always thought Mikal Shapiro was a good a songwriter and performer as many I've seen.
The Deli : You've been to every kind of venue to see and hear music, from Sprint Center on down to house concerts. What do you consider to be your optimum place to experience music?
Finn : It depends on the show. I've been to shows at the Uptown Theater when it's full, and it's as intimate or satisfying as a house concert (Sigur Rós and The Swell Season come to mind). Starlight Theatre can be the perfect venue. As long as the crowd is attentive and engaged and the sound is good, any venue can work for me.
The Deli : If you could assemble an all-star band using KC and Lawrence musicians, who'd be in that band?
Finn : That's too hard to answer. I'd start with Ernie Locke, though.
The Deli : What's the best local concert you've seen so far this year?
Finn : I have to list a few. The performance of Beck's "Song Reader" by Project H ( Mark Lowrey, Jeff Harshbarger, Shay Estes, and many others) was brilliant. The recordBar was pretty much full that night, and everyone was hearing every song for the first time. Yet, for the most part, everyone gave the band and the music full attention that night.
Awhile back, I saw The Grisly Hand at Knuckleheads and for part of the show they brought up a three-piece horn section and created this country/soul sound that was delicious.
At this year’s Warped Tour, the Beautiful Bodies and Mac Lethal were performing at the same time at contiguous stages. I bounced back and forth between both. Each drew a big, rowdy crowd. Both are so much fun to watch, the way they engage their fans.
And The Pedaljets album release show was great. They are such a good live band. And the more I see Ghosty live, the more they impress me.
And I have to plug Middle of the Map, which showcases the breadth and depth of local music in this town.
The Deli : What advice would you give to an aspiring area band who are just getting started in the music world?
Finn : Don't do it for the money, glory or fame. Do it because you love it. And do it with the people you love.
Tune in to KKFI 90.1 FM on Sundays at 8:00 p.m. and listen to Barry’s show Signal To Noise, a two-hour free-form radio program dedicated to the proposition that all good music transcends its genre.
Also, you can check The Star's music blog Back To Rockville , which Tim writes for, and you can often see him out at many local and national shows. He'll be the tall guy.
Published: November 17, 2013 |
Show review: The Latenight Callers' Lost Weekend Brunch, recordBar, 11.16.13
Kansas City music fans got a rare treat when the recordBar hosted The Latenight Callers for the Lost Weekend Brunch, featuring the complete brunch menu and their famous (in certain circles, anyway) Bloody Mary bar and generous pours. If you aren't familiar with either the recordBar (located at 1020 Westport Rd., on the northwest corner of Westport Rd. and Southwest Trafficway) nor The Latenight Callers, get acquainted with both. The bar has been around for just over eight years and is Kansas City's premier live music venue, and the band pretty much invented the noir a go-go genre.
It was a rare free show—rare for both the band and the bar. The music got started about 12:30 pm and the band played two sets. It wasn't too loud, so the folks who were there for brunch and conversation weren't crushed by a wall of sound, but the people who were there for the music weren't disappointed either, because the band brought their A-Game to a brunch show. Krysztof Nemeth never missed a note on lead guitar, Nick Combs was smooth as silk with the melody lines on the keyboards and percussion—don't ask how he pulled it off, just accept the fact that he managed to do so and move on—Gavin Mac kept the groove on bass, and Julie Berndsen vamped it up like nobody's business while belting out hypnotic vocals; and she looked divine, in a red sweater dress and black beret. She looked as if she had stepped off the page of a Neiman Marcus catalog, circa 1945—and as Martha Stewart would say, “that's a good thing.”
All in all, it was a treat for all the senses. The food served at the recordBar is probably the best bar food in town, and in Kansas City, that is a pretty bold statement, but one I'm willing to go out on a limb and make. The atmosphere at recordBar is always cordial and pleasant, which is definitely a reflection on the owners Shawn Sherrill and Steve Tulipana, and the staff they have hired. Shawn and Steve deserve every bit of the success they've had, and more. Two nicer guys you'll be hard-pressed to find anywhere, and when you consider that they are in the live music business, it approaches unicorn rarity.
The Lost Weekend Brunch was the first Saturday brunch the recordBar has hosted, and the only one the bar has ever hosted with live music, but based on the turnout, it was quite a success and something they ought to consider doing regularly... if not weekly, perhaps they will do it once a month. I know that every one they host, I will attend, and you should, too.
--Tammy Booth/Blue Girl
Published: November 17, 2013 |
Published: December 31, 1969 |
Which of these acts should be The Deli's next NYC Artist of the Month?
Hiss Golden Messenger
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