The Barn:  I recently caught your solo acoustic  show at Harlem Avenue Lounge and really enjoyed the set.  Let me start with some questions about the contrast between this type of performance a full band show.  Any things you’ll try solo don’t attempt with the band?  Do you write songs with one or the other in mind?

Jeff Massey:  When I’m playing an acoustic show, it’s a lot different than playing with the band because there is nothing to hide behind.  Tod and Joe are so great to play with that if I fall apart at a show, I know they’re going to cover it and vice versa.  We kind of support each other in that regard.

When you’re just playing acoustic it’s just bare bones.  I have a tendency to go off more into improv tangents when I’m by myself.  I like to go out there and see where I’m going to land.  I take chances and I play the songs a little different when I don’t have to worry about anybody following me or if there is some sort of mistake, I know I can only blame myself [laughs].

Is the repertoire much different in a solo show than a Steepwater show?

I do a lot of songs that we do in the band — a good chunk of it.  But I throw in a lot of blues… like really old blues songs that I like and some things that maybe wouldn’t work with the band.  Sometimes, stuff that I haven’t had a chance to bring to the band.  Stuff from out in left field or more strummy type of stuff that I wouldn’t usually play with the group.  But, a lot of it’s the same, too, you know?  I like both.  I can’t say I like one better than the other.

Jeff Massey Solo – Live at Harlem Avenue Lounge, “Black Mountain Side”

Most of the Steepwater songs, even the heavier electric ones, are originally written on an acoustic because I play a lot more acoustic around the house than I do electric.

You work it out acoustic then and bring it to the band?

Not every song but a lot of them.  Some of our songs are just the three of us jamming in a room.  There’s a good chunk of them that I do write on my own that come from an acoustic guitar originally.  Even the tunes that end up being raunchy electric songs start out on acoustic. I don’t think about what Tod and Joe are gonna do, I just leave it up to them.  I’m always looking forward to see what they’re going to do; that’s half the fun of it for me.  They always come up with different parts and their own arrangement ideas.

Can you detect differences stylistically in The Steepwater albums?  Were they created with different approaches or intentions?  How do you characterize each?

The last two albums, for example, we did completely different from each other.  Revelation Sunday was pretty much self produced and mostly a group of songs that we had been playing live for a while, with a few exceptions… there were a couple that popped up in the studio.  That was mostly  stamp of what we had been doing live in the year prior. Grace & Melody was a totally different situation because there was a producer involved.  Marc Ford produced the record so when he is involved you have his outside opinions and input.  That’s why when you hire a producer, you have to hire somebody you think you’re gonna be on the same page with.  Grace & Melody was us going into the studio with more blueprints of songs than complete songs and then they got turned upside down when we got to the studio and started working with Marc.  We took them and tried them with different keys and tempos.  We messed around with a lot of trial and error and Marc had a lot of input on the record.  That was a little different approach from some of our past records for sure.

The Steepwater Band — Grace & Melody “All The Way To Nowhere”

I heard “The Stars Look Good Tonight” on XRT and it did not feel out of place at all on commercial radio.  It had a real pop sensibility and “radio-friendliness” to it, but still sounded like you.  What this something that you aspired to or did it just come naturally?

Believe it or not, when I wrote the song I wasn’t really thinking about it.  I didn’t sit down and say “I’m going to write a poppy, hooky, catchy song”.  We just write songs and how they come out, they come out.

The Steepwater Band — Live at Harlem Avenue Lounge “The Stars Look Good Tonight”

I definitely noticed that as we were putting it together, I thought “hey… this is kind of catchy, and more hooky than some of our other stuff” but that doesn’t bother us.

So you’re a fan of pop music?  That’s not something you’re trying to shy away from?

No, we’ve got songs with hooky choruses and we’re not scared to do that because to me it still sounds like us.  We don’t shy away from its but not something we go out of our way to do either.   It’s just how a particular song comes out.

What type of music is in heavy rotation for you these days?  What’s influencing the way that you make music?

I don’t know… I listen to so much different stuff.  It’s usually whatever is in my car [chuckles].  I’m probably influenced directly and indirectly by a lot of things.  I usually have old Bob Dylan records in my car; I’m a Dylan fanatic.  I have a Luther Allision record… a Charlie Christian and Dizzy Gillespie record and probably The Black Keys.  But that could change tomorrow.

That latest Black Keys is in heavy rotation on my iPod, for sure.

I love the Black Keys.  Everything they do, I’m really, really into.  I love all kinds of music so it’s hard to pinpoint exactly what makes us sound like we do.  We’re probably consciously and subconsciously being influenced by a lot of things.

The band spent some time in Europe early this year.  Any particular  insight into what the differences are between your European and stateside audiences?

It depends where you go.  This was our fifth time in Spain and for some reason we have this overly enthusiastic audience there.  It’s a little wilder there.  I’m not saying we don’t’ have great shows here, but for some reason, even though a lot of them only speak Spanish, the fans are up there in the front row singing the words to the songs.  Everybody’s got all the records and all the rooms we play are packed.   I don’t want to say one place is better than the other, but it is definitely fun to go there since they are so in to what we are doing. It depends where you go.  We went to France, Belgium and Germany on this last tour and some of those audiences just reminded me of anywhere else.  Once you get inside a rock club and meet the people there, it similar to what’s going on in this country.  Some of them might be a little more obsessive about it [laughs].  Really hard core into it like “sign this, sign that, I’ve got everything” and that’s cool… that’s great.  A lot of similarities though, they’re all just people and music fans no matter where they’re from.

Photo by danielbartel.com

Your touring this summer is a good mix of club gigs and festivals.  Do you take a different approach to the festival circuit with shorter sets and other bands on the bill?

We always do a different set every night to keep it interesting for us and for the people that come out.  When we’re doing a festival and it’s a shorter set, we really lay heavy on our original music – especially from Grace & Melody and the EP.  We’ve been playing those songs a lot.  And then we get into a club or a situation where we’re playing longer, we might throw in a couple of oddball cover tunes or some things we’ve been working on.  It’s most important for us just to mix it up.  I can’t stand doing the same set two nights in a row.  Festival, indoor, whatever – it’s just gotta be different! You might have some of the same staples in there but we approach it like we’re gonna go out and play as hard as we would anywhere.

What do you guys do on the road to keep you occupied?

There’s an iPod in the van.  I’m a reader. I like to read a lot.  How rock-n-roll is that?

You’d be surprised.  I hear a lot about musicians on tour that like to curl up with a good book.

Sometimes there’s the occasional sip of Southern Comfort or some whiskey in the back as long as I’m not driving.

What’s on your bookshelf these days?

Christopher Moore.  There’s this book called Lamb, which is about Jesus Christ and the years they didn’t write about in the Bible, as told by his friend Biff.  I’ve been reading his stuff lately and its pretty comical. Everybody else has their modern iPhones that they can make toast with and everything else… and I’ve got my book.

That’s pretty lo-fi.

Yeah, I can also take naps.  It doesn’t bother me in the least – I don’t mind being on the road.  I like the feeling of moving.

You have recently had the opportunity to collaborate onstage and in the studio with some incredible musicians, some real heroes of mine like Warren Haynes and Marc Ford.  I’ve always been curious… how does the process of a sit-in work?  Do you just meet up backstage and ask?  When do you decide on a tune to play?

It depends on the situation.  We’ve shared the stage with some people that you never even see them backstage.  They’re not interested to meet you or they’re tired or they’ve got something else going on.  It totally depends on how they are as people. The Gov’t Mule thing…  If I’m the opening band, I don’t ever approach the headliner about jamming.  To me, it’s their show and it’s up to them and their call.   The dudes in The Mule were so cool, the crew and everybody, we were all hanging around.  We had played with them once in Europe so we had already met them.  When Warren had me and Tod jam, he just asked us, “do you guys want to sit in?” and we were like “yeah…absolutely!”  It was really really cool that someone like that who would take the time to not only watch our band every night, but also ask us to play with him. The thing with Marc.  Marc had a band that he toured with a couple years ago.  We were in Europe at a festival in Spain.   We were actually headlining and Marc’s band went on before us, so no brainer… he still had his amp up there.  I hadn’t even met him, I just went up to him and asked him to jam and he was all about it.  His son Elijah was in the band too — he plays with Ryan Bingham now — and he sat in with us as well.  In that case, we asked him because we were going on after him, but if it had been his show, I don’t see it as my place to say “hey man, let me jam”.  I just leave it up to whoever is headlining.

Everybody’s different.  Some people are all about it.  Some people don’t care.  Some people aren’t into the jamming thing.  I’d say a good percentage of people we meet and share the stage with are usually pretty cool.  Warren, especially, was super cool.  He went out of his way to make that happen.

I kind of suspected that about Warren but this clinches it.

He’s beyond cool.  Really down to earth guy who genuinely loves playing with other people.

You say you typically mix up the sets.  Any songs that have been resonating with you lately?  Do you make conscious effort to play all songs in The Steepwater catalog?

There are certain ones that, if we’re playing a big show, we know are good live songs that just feel right and excite audiences.  We don’t have any songs that we don’t like.  Basically, if we don’t like a song, we stop playing it.  There’s definitely about four or five off the last record that we try and make sure we always play.  But, then there’s other ones that disappear for year and the we’re like “oh yeah… let’s start playing that one again” and its almost as if they get a breath of new life.  Sometimes you play a song too much and you’ve got to give it rest.  You come back and revisit it again.

The Steepwater Band — Live at House Of Blues “Indiana Line”

Its always important to have new material.  Right now, we’re working on new material that we’ll probably record this fall.  We keep things in and out of rotation and we’re always learning new cool cover tunes just to keep things fresh and keep us on our toes, so things don’t get stagnant.  When you’re playing that many gigs… if you play the same thing every night its like a formula and then we get bored.

Thanks for the chat.  Look forward to seeing you in a couple of weeks.

For sure, see you soon.

Catch The Steepwater Band at Brixie’s on June 19th.  Discounted, pre-sale tickets available now.

You’re cooked right?  The chips are stacked against you.  Let’s face it, the charts aren’t exactly burning up with guitar driven, straight-shooting rock.  Where the grimy cool of bands like the Rolling Stones once captivated the nation, that fascination seems like a relic of days gone by when confronted with the glitzed-up super-stardom of the twenty-first century Stones.

You know these guys are good, if they sell albums looking like this.

And yet, we exist.  And by “we” I mean the people that love this kind of music.  Audiences still crave good old-fashioned electric guitar crunch, its authenticity and grit.  It makes a connection to people like almost no other type of music.  In a way it is timeless, resonating deep into the roots of American musical traditions, but still offering structures that are wide open for interpretation.  It inspires passion in its fans and it drives its makers.  Its finest practitioners bubble to the top.

Substance reigns supreme over style in this world.  Starting with the same basic framework, there are different paths to the top.  From the jazz-infused improvisational certitude of Widespread Panic and The Allman Brothers Band to the Stones-y swagger of The Black Crowes.  From the hill country boogie of North Mississippi Allstars to the indie-punk blues sensibilities of The Black Keys.  To co-opt and paraphrase the wisdom of the immortal Frank Zappa “great blues based rock-and-roll is not dead, it just smells funny”; and the spirit of Cream and Jimi Hendrix live on through vital power trios like Gov’t Mule and The Steepwater Band.

What follows is The Barn’s take on the things that go into the pot when cooking up a recipe for inspired rock with one foot in the blues.  Consider this an intro course into the realm of soulful, substantial rock-and-roll, a walk down the path blazed by some of our favorite purveyors of the sound.

1.  Nail the sound.  Own the sound.

First, get those guitars sounding just right.  Not everybody will have the jaw dropping technical proficiency of Widespread Panic’s Jimmy Herring, but nevertheless, getting the guitar out front and center is key.  Ideally, the sound should slice right though the listener.  At its core, this is guitar based rock and whether its twin the guitar attack of the Crowes or Warren Haynes’ soaring leads in the Mule, it’ll be the loud yet melodic riffs that hooks the listener and cements the bond with the performer.

Widespread Panic – Live In Chicago 2009, “Disco”

The bass, too, can be a lead instrument.  Not regulated to the background or simply keeping the time, audiences certainly feel the thump of North Mississippi Allstars’ Chris Chew or Steepwater’s Tod Bowers deep in their bodies.  These players give the guitar heft and allows the band to be loose and funky, while not skimping on power.

But this music can also swing and drummers play a key role as well.  In nearly every case, when the ensemble starts working up a head of steam, a thick and soupy psychedelia emerges and it is this that transports the audience.  Consider Patrick Carney of The Black Keys, even on their studio recordings, his John Bonham-esque beats fiercely compete with Dan Auerbach’s guitar, to produce a whole that is greater than the sum of its parts.

You needn’t have a throat full of gravel to nail the vocals (though it sometimes helps), but being able to emote is definitely a prerequisite.  Gregg Allman is the shining example here, earning mad points for 40 years of impossibly soulful vocals.  But Chris Robinson’s honey voiced blues with the Crowes provides an counterpoint to this style, and his approach proves that even ballads can have the edge that rock fans demand.

2.  Bond like brothers

Is it a coincidence that some of our favorite artists actually feature siblings in the band?  Besides the seminal Allman Brothers Band (RIP Duane), both the Crowes and the North Mississippi Allstars are family acts.  I think it’s because this kind of music draws strength from trust and familiarity within a band; and there is no deeper connection than blood.

Which is not to say that friends can’t bond like brothers.  As a nod towards solidarity, Widespread Panic shares songwriting credits across all six band members on all of their releases, as theirs truly is a full band sound.

The Black Keys just named their most recent release “Brothers”, which is no small part a comment on the working relationship of this duo.  It’s not uncommon to see any of these bands grow deeply connected, keep the same lineups for many years, and generally grower tighter and more in tune with each other as time passes, most frequently as a result of…

3.  Get out there and play

The best bands don’t just tinker in the basement or the garage, waiting years between tours or releases.  They hit the road and take the music to the people.  Even as  touring members of a large and established band like The Allman Brothers Band in the mid-nineties, Warren Haynes and Allen Woody hit the club circuit with drummer Matt Abts to establish their own identity and build a fan base for the Mule.  To this day, Warren manages to juggle participation in a number of touring bands with hosting an annual benefit concert and headlining festivals in addition to his recording.

For almost twenty-five years, Widespread Panic have been quintessential road warriors, bringing their fusion of rock, blues, jazz and southern boogie coast-to-coast and even stepping it up for special gigs on Halloween and New Years.  Working the scene from bars and clubs to theaters and arenas, these days they’ll typically set up shop in a town, treating fans to multi-night runs, giving a chance to sample of their vast repertoire and swampy improvisational frontiers over the course of several shows without repeating material.

Check out the gig history on Steepwater’s site for a primer on how to do it.  It starts by just playing anywhere you can, then building a regional following and branching out from there.  Everything from performing weekly residencies, taking slots festivals and even taking several jaunts across the pond, has been a part of Steepwater’s plan and they continue to execute as they work their way up the chain.

4.  Get a mentor

Some might say that Steepwater made their most significant leap, after they brought the experience and vision of Marc Ford into the fold.   Their Ford produced album “Grace and Melody” has the gravity, polish and frankly, the balls, that comes with carefully harnessing something raw and elemental.  And while you can’t deny Warren Haynes’ singular talent, I think that he will acknowledge that the mentorship of Dickey Betts, Gregg Allman and Phil Lesh (Grateful Dead), that have allowed him to round out his skills and become world class on his own.

Although an established band in their own right by the time they hooked up, The Black Crowes collaboration with Jimmy Page fully legitimized them as torch bearers.  Filling out their sets with choice Zeppelin cuts and the raw blues that inspired them, the two disc set “Live at the Greek” is the document of something we knew was special at the time, and a decade on really feels like lightning in a bottle.

Live At The Greek

Mentorship  doesn’t always come late in a career.  Take Luther and Cody Dickinson of the North Mississippi Allstars, who not only emulated, but also rubbed shoulders with legends RL Burnside and Junior Kimbrough, the forefathers hill country blues, during childhood, as well as receiving the inspiration their father Jim Dickinson, a legendary producer, pianist and singer.

And no mention of mentorship can be complete without mention of the other worldly wisdom of Colonel Bruce Hampton, Retired, who provided Widespread Panic, as well as other jambands, sage advice about shedding ego, letting themselves go and allowing the music to flow through them.  That bands who have heeded the advice of Col. Bruce have gone on to scale the heights of success in the scene.

5.  Collaborate, collaborate, collaborate

In this game, the trick is to look and sound mean, but to be nice.  The best bands keep their ears open for like minded souls and keep the doors to their stages ajar to welcome and encourage the whole slate of possibilities that await.

Nobody puts this into practice more than Warren Haynes, the godfather of all collaborators.  One of my all-time favorite musical memories came watching Jimmy Herring, Derek Trucks and Warren Haynes trade licks on a 40 minute “Afro Blue” encore at 3 am at Mule’s New Year’s Eve 1998 gig.   Among the latest additions to Warren’s list of collaborators, Jeff Massey and Tod Bowers were welcomed to the Mule stage during a recent swing through the Midwest in which Steepwater opened (check the video below).

Steepwater, in turn, have done their share of the host duties.  Backing up Marc Ford for full sets, but also hosting jams with members of Drive By Truckers and Georgia Satellites.

Sometimes the collaborations will go deeper than one-offs.  Widespread Panic partnered with Dirty Dozen Brass Band for a summer tour in 1999 that spilled over into a years-long musical relationship, yielding a couple of fine albums:  “Another Joyous Occasion” and “Night Of Joy”.  While this collaboration produced an enhanced version of The Panic, others form off shoot bands and side projects that are worthy acts that stand on their own (WSP’s side project with the late great Vic Chessnutt for instance, brute).  The Black Keys collaboration with several renowned MC’s, including Mos Def and RZA, produced the dirty blues / hip-hop hybrid known as BlakRoc and the North Mississippi Allstars bring the rapturous sacred steel gospel sounds with the help of Robert Randolph and John Medeski in The Word.

These bands, and others like them, employ these tactics to rev up audiences and keep the flame burning.  I fully expect others to follow this path and, as a fan, am excited to see who the artist next to stumble on and perfect the process will be.

For an in-person sample of the goods, come on out to see The Steepwater Band at Brixie’s in Brookfield on June 19^th.  Discounted, pre-sale tickets are on sale now.

The template is quite simple really: combine some simple effects and some outstandingly groovy footage (the clip’s maker won’t divulge where he nicked them from) with one of the most gritty, funky and downright catchy tunes in the Steepwater catalog: “The Healer”. “I love good bluesy, dancey rock n roll, and I like helping expose songs like this to more people,” the video’s creator says. He advocates sharing it far and wide, and may even make more based on the positive response that this one has gotten. “Post the video all over the place,” he quips. “ That’s the point!”

Though the sound and fashion of R&B, funk and soul has come a long way since the afros and bell-bottoms of the 1970’s Don Cornelius-era Soul Train, bands like Steepwater still carry onward to keep the groove alive. This is how I see myself dancing in my head, even if my body doesn’t always comply.

If you like Steepwater, you’re sure to like The Black Keys and vice versa. This blues-punk duo from Akron, OH recently debuted this video for “Tighten Up” from their incredible new album Brothers.

I just had to share it here; the pro-shot vid seemed a perfect complement to the Steepwater do-it-yourself feel and the content has quite the affinity to The Barn’s suburban roots. Very well done, and it has a great storyline the likes of which I haven’t seen since videos in MTV’s 1980s heyday.

From the amateurs to the pros, The Barn has your video needs covered and as always, in parting we wish you love, peace… and SOUL!

Solo and acoustic.   A musician has got to have pretty big stones to pull it off.  Without a band and effects for distraction, the audience can only focus on the artist, warts and all.  They are laying it out there, with only voice and guitar to provide dynamics and keep the audience engaged.  A one man show requires a unique talent – and it’s not common to even see the most accomplished musicians attempt it.

It is a rare treat to see Jeff Massey, of the The Steepwater Band, in this setting.  I was lucky to be in the room for his second set of tunes last Tuesday night (May 25) at the Harlem Avenue Lounge when Jeff justified his ambition not only as a solo performer, but also as a songwriter and interpreter of rock and  blues.

From the set opening “Walkin’ Blues”, Jeff delivered a stripped down version of what audiences have come to expect from Steepwater:  blues like an exposed nerve… a big voice and a passion to match.  Ably handling the fretboard, the guitar sound was crisp, clean and unaffected as it rang into all corners of the club.

Befitting of the format, The Harlem Avenue Lounge played an important role in the night’s proceedings – the room is intimate and revealing.  With its smallish stage tucked away at the end of a big rectangular bar tended by Kenny, a warm and cordial host, it felt like someone’s living room.  When Massey belts out “Dance Me A Number For Free” or “The World Keeps Moving On”, it’s a bit like bearing witness to something personal.  Smoldering slow acoustic blues that immediately draws you in and connects you to the performer.

Of course, that level of intensity isn’t sustainable over the course of a 90 minute set (let alone two).  What really makes the show is that Massey is personable and likable on stage.  Smiling and bantering with the audience and Kenny between songs, he offered to take a request, but only if the requesting fan could find the lyrics (he looked it up on a web enabled phone, but Massey claimed they were the wrong words… he sang it anyway).

But, it wasn’t all raw emotion and chuckles; Massey could still get nasty.  The funky blues of “The Healer” left the dedicated crowd with a new appreciation for how dirty an unfiltered acoustic guitar could sound.  And covers of “Six Days on The Road” and “Prodigal Son”, helped ground us and keep toes a-tappin’.

The great cover material didn’t stop there.  By request from the back of the bar, Jeff obliged with “Baby Let Me Follow You Down”.  It subsequently morphed into what Massey dubbed “The Bobby D Trilogy”, segueing from BLMFYD into a ripping “All Along The Watchtower” and resolving itself with “Girl From The North Country.”

I can’t imagine a better way to spend Tuesday night – and I’m sure most of the crowd agrees.  It’ll be Saturday night when Jeff, Tod Bowers and Joe Winters take the stage at Brixie’s in Brookfield as The Steepwater Band.  If this is how Tuesdays sound, you’d best find yourself there.  Stay tuned for more about this incredible band right here on these pages and pick yourself up a ticket while you still can.  The Barn is thrilled to bring them to you.

Setlist:

Set 1:
1. Key To The Highway
2. All The Way To Nowhere
3. The Stars Look Good Tonight
4. Collision
5. Diving Duck Blues
6. Hard Time Killin’ Floor Blues
7. Slow Train Drag
8. Dust My Broom
9. Between Her And The Morning > Maybeline > My Babe > Between Her And The Morning
10. At The Fall Of The Day
11. Hard As Stone
12. Willin’
13. Vanishing Girl (1st time played)
14. Revelation Sunday
15. Stop Breakin’ Down
16. Hot Tamales (They’re Red Hot)
17. Come On In My Kitchen
18. Bron-Y-Aur Stomp

Set 2:
1. Walkin’ Blues
2. Lord Knows
3. Healer
4. Dance Me A Number
5. Six Days On The Road
6. World Keeps Moving On
7. Wake Up And Walk Away
8. Drop Down Mama
9. Prodigal Son
10. Black Mountain Side
11. Roadblock
12. From Four Until Late
13. Baby Let Me Follow You Down
14. All Along The Watchtower
15. Girl From The North Country
16. TV Mama
17. Fire Away
18. One Way Ride

I wanted to take a moment to use some space here to showcase what is available and include a couple of words about some of my favorites.  Now, I feel much more comfortable pontificating about music than beer, so bear with me and feel free to add any comments of your own.

In the first edition, I’m going to showcase two brews from my favorite breweries in the Midwest — Three Floyd’s Brewery in Munster, IN and the Bells Brewery in Kalamazoo, MI.

Three Floyds Gumballhead is an American Style Pale Wheat Beer with character that is reflected by its hand drawn cartoony label and whimsical name.   I always detect a slight citrus flavor in this beer, that perhaps by power of suggestion, evokes the flavor of a gumball.  Yet, the sweetness is not overwhelming and there’s a nice hops flavor as well.  Light and drinkable… Gumballhead is a nice middle ground that can satisfy both beer purists and less adventurous beer drinkers.

Bells Expedition Stout, on the other hand, is not for amateurs.  A brew like this is usually one and done for me.  A thick, black Russian Imperial Stout, the brewers at Bell’s seem to draw out the rich roasted flavors of coffee and chocolate, producing a nice stout never tips the scales to bitterness.  Think more flavorful Guinness and you’ll start to get the idea of what the Expedition Stout is all about.

Ideally, I’d like to make this a periodic feature on the blog, as Brixie’s is constantly refreshing its beer menu and there is so much great beverage to explore.

Here’s what’s currently on tap:

Filtering a ton of musical and personal influences through a shared vision and welcoming a revolving cast of talented musicians into their main musical outlet, The Big Sky Stringband, it is a test of leadership, partnership and musical vision to sustain a working band over the years.

Recently, Jay and Chris took time out to chat with The Barn about their inspiration, the philosophy that they impart on the band and also to project a little about what the future holds.

The Barn: Like myself, you guys have spent some time in Champaign.  What have you taken away musically from that community?  Do you still feel connected to it?

Jay Stanek (JS): The four years in Champaign were great because the musical community was so tightly knit.  It seemed that everybody played in everybody else’s band. It’s also where we really got into bluegrass and folk music.  I took a class called “Music 199: Old Time String Band” and it wasn’t really a class. We just played gigs. The class was run by a graduate student named Kip Rainey, who is now in a terrific Chicago band called Tangleweed, and we played with Jordan Kaye’s Prairie Dogs who are still at it today, and the Bluegrassholes (two of whom—Jeff Austin and Dave Johnston—later formed Yonder Mountain String Band, and another, Ken Wilson, was in Chris and my band at the time), and that’s not to mention the other great bands playing around C-U — Funky Butt Drum Club, the Brat Pack, Cameron McGill’s Neintown — still.

What was also great about Champaign-Urbana is that you could go see live music every night of the week and see any style of music as well.  That has changed and it’s disappointing but I still go see my musician friends in Champaign a few times every year.

The Barn: I am intrigued by Big Sky as a inter-generational band.  What have you learned from having Dick in the band?  What has he learned from you?

Chris Meier (CM):  For me it’s been a great opportunity to play with my father-in-law.  We’ve really formed a great relationship that goes well beyond music.  I’ve learned a lot about life from Dick, as well as a lot about some great bands of the 70’s.  As for him, I think we’ve turned him on to some new musicians and a new style of music.  He knows good music when he hears it, and can appreciate nearly any style of music.  In many ways that’s what makes the band so interesting: you’ve got people with such varied musical backgrounds, yet somehow it comes together to form some great music.

JS: Dick has really been an inspiration. He’s certainly a father figure, but he has a great sense of humor and never seems to take himself too seriously. He was playing in an inter-racial band in the Deep South in the 1960s and 1970s when it was still potentially dangerous to do so.  What could we possibly do to top that?  Also, Dick is an accomplished lead guitarist but for this band he wanted to push himself and play fretless bass.  He’s definitely one of the best musicians I’ve played with and one of the nicest guys I’ve known.  I don’t know what he’s learned from us but I know he has a great time playing and that’s good enough.

The Barn: I’ve seen you have covered two of my favorite Bob Dylan songs (You Ain’t Goin’ Nowhere and Tangled Up In Blue).  What makes a great Dylan song for you to cover?  Are there any others in particular that you would like to try?  Is there an overall philosophy about bringing cover material (by any artist) into the repertoire?

JS:  Chris and I have been Dylan fanatics since high school.  What is great about Dylan tunes is they can be recreated in so many ways.   There’s a reason he is one of the most covered artists.  You can hear a Byrds version or a Jerry Garcia version of the same song and they’re completely different.  One tune I’ve always loved and wanted to do was “Tombstone Blues” because it’s so punk rock.  Chris and I used to play versions of “Girl From the North Country” and “Love Minus Zero/No Limit.”  I’d love to bring those back.

CM:  Our song “Dialog with John” is autobiographical about the music Jay and I were playing in Champaign, and in that song I sing about “Dylan’s fake book in the key of C.”  Jay spent like $6 on a Dylan fake book that had chords for everything on “Blood on the Tracks” and “Desire.”  I lived in the Round Balcony Apartments on 2^nd Street and we played the frat house across the street for the 4^th of July, and “Dialog with John” makes reference to that show, and how we used to sit around on other occasions and play every song in that Dylan book while drinking beers and talking about what we love about music.

Dialog With John: Download audio file (Dialog.mp3)

Cover songs, either by Dylan or others, seem to find their way in and out of setlists over time.  “Whipping Post” is a good example of that.  We played it one time by request without having practiced it at all, and then didn’t play it again for several months until someone in the band was like, “why haven’t we tried ‘Whipping Post’ again?”  We did it that night and it sounded great and stuck in the repertoire for a few months. Who knows, maybe we’ll play that again sometime soon.  We did the Dead’s “Here Comes Sunshine” two times a few years back to commemorate the Summer Solstice.  It was really good, but I don’t think any of us remember the harmony parts, and that song’s a bit tricky to sing if you haven’t done it in awhile.

We’ll play a fairly unknown song like “If I Had Known” by Greg Brown in the same set as the widely known Old Crow Medicine Show song “Wagon Wheel.”  We like both songs so it’s a win for us and the crowd tends to eat both up. I guess the philosophy behind all this is that we want to keep it interesting for both the band and audience.

Tangled Up In Blue: Download audio file (Tangled.mp3)

You Aint Goin’ Nowhere: Download audio file (YouAint.mp3)

The Barn: I assume you guys are both from around the Chicago area, yet your originals have a bit of folk and country to them.  How do you explain your inspiration to write bluegrass-inspired acoustic-based music with lyrical content about trains, rivers and such?  Have you ever or would you ever write in different styles or genres?  Do you have a particular approach to songwriting?

CM:  We have a few songwriters in the band, and while each has his own unique style, there are some common threads.  Jay and I have always appreciated the simplicity of acoustic-based music and in some ways the lyrical content follows. The instrumentation of the band lends itself to a certain style of music, but we don’t allow this to control the style of music we play.

Q: As a lifelong Chicagoan, I can’t help but smile at your tune “Hat’s Off To Rick Koz”.  Where did the spark for that one come from?

JS:   Me and a few friends were sitting around drinking and decided to create a list of funny stuff from the 70s and 80s that we saw on TV.  The chorus is “Rock a bye your baby,” which was a line from “Harry Schmerler…your singing Ford dealer.”  Then I threw in “Harry Schmerler is not afraid,” a nod to the Lenny Bruce reference in REMs “End of the World as We Know It.”

Rich Koz: Download audio file (RichKoz.mp3)

Other bad commercials like Victory Auto Wreckers, Celozzi-Ettleson Chevrolet made the cut.  Of course, no Chicago-centric song about pop culture would be complete without Rich Koz’s “Son of Svengoolie.  If you’re from Chicago, you get it.  If not, you don’t.

Q: There are some inspired improvisational moments in some of your shows on archive.org?  How much of an influence do jambands like Grateful Dead or Phish have on your stage show?

JS:   We incorporate improvisational moments in each of our shows.  Like the Grateful Dead, some Big Sky songs like “Grandpa’s Groove” or “Slow Train” are better suited for improvisation than others.  We tend to group songs in a set so that you might get a bluegrass mini-set, a jammy mini-set, and a straightforward rocking/countryish mini-set.  We’re also always tinkering with songs in practice, during sound checks or even during the shows themselves.  We had been playing our song “Della Vane” for at least a year before we added a key change in the middle of the song on the fly during a show at Reggie’s in Chicago.  Everyone liked it so it’s been in there ever since.

Della Vane: Download audio file (DellaVane.mp3)

CM:  We have a lot of diverse influences like the Dead and Phish have, so those influences find their way into our shows. We’re closer to the Grateful Dead stage show than the Phish show. Phish has a tendency to pull some pretty cool and random surprises on a fairly frequent basis, but the Dead just played their music — warts and all — and hoped that fans liked it.  Neither of those approaches is better than the other, but we just feel more comfortable with the Dead’s approach; it lends itself more to our sound and our personalities.

Q: Who are the contemporary acoustic bands and artists that you admire?  Why?

CM:  I mentioned Greg Brown earlier.  He’s a singer/songwriter from Iowa who puts out some great albums.  His lyrics are incredibly smart, and can paint such a vivid picture.  Plus his voice is incredible, once you hear a song of his, you won’t forget.  The Avett Brothers is just starting to break as an up-and-coming band, and they put out some great albums and EPs.   Their newest album is outstanding, and I think their songwriting is underrated, they write some great, great songs.  Josh Ritter is another artist I’ve been listening to lately.  He, too, has some great songwriting skills.

Q: What are some of the goals for the band in the short and mid-term?

JS: As you know, the Brixie’s show is our last club show until at least August.  We’ll take time off in June to gear up for a busy festival season in July which includes Sheffield Garden Walk, and multiple set shows at Barrington Brew Fest and the Crystal Lake Lakeside Festival.  We’ve got some material demoed now and we’ve been playing these songs out live to break them in.  Basically, we like to see what sticks and how things evolve.

CM:  Big Sky’s been around for about a decade now and that’s saying something in the local scene and the current musical climate.  There are only a handful of bands still playing that were getting their start at the same time as we were.  Cornmeal and Backyard Tire Fire come to mind.  Both those bands have done a lot more touring and it shows when you look at their following and the great music they’re producing.

For Big Sky, we’ve spent a good deal of time working on the music, and balancing that with our family commitments. While we’ve played shows in Michigan, Indiana, and Wisconsin, we haven’t played as extensively outside of Chicagoland and Illinois, and that’s by design.  I guess the questions for the band now is, where are we and where might we go from here. We’ve started to talk about these questions as a band and we’ll see where this leads us.  We’re getting older, but our tunes still appear to resonate with a lot of people, so I think we’re all proud of what we’ve accomplished and the music we’ve produced.

We look forward to seeing you at Brixie’s on Saturday.  Tickets are still available at Brown Paper Tickets.

Before regional markets became homogenized into a national basic cable package, we in Chicago enjoyed the emergence of cheaply produced content and tons of reruns paid for by those local businesses that couldn’t quite afford the advertising on 2, 5, or 7.   Before cable news and nationally syndicated talk radio, we were hyper focused on the political drama that played out on our local stage.  And before every vehicle was equipped with a media player (be it 8 track, cassette, CD or mp3), we had our local radio celebrities, who entertained us, connected us and helped to foster our citywide culture.

Big Sky Stringband offers the song “Rich Koz” as a fond reminder of these days.  A catchy bluegrass inspired song, laced with tasteful acoustic guitar and mandolin runs and a funky little bass line, you can click on the audio player below to hear the tune and follow along with the lyrics in the greyxes quote bo boxes.  Using the song as our guide, and through the magic of YouTube and The Museum of Classic Chicago Television, let’s take a stroll down memory lane….

Rich Koz – Big Sky Stringband Download audio file (RichKoz.mp3)

Hats off to Rich Koz, he was the Son of Svengoolie
Cellozi and Ettleson, make me feel so unruly

Rich Koz — as the song says — he was the Son of Svengoolie.  A Chicago born actor and broadcaster, Koz created the character, a Saturday afternoon monster movie host, on a pre-FOX WFLD channel 32.  His shtick was the epitome of “lo-fi”: employing flying rubber chickens, a hammy Translyvanian accent, garish tuxedo, nonsensical catch phrases (‘Berrrr-vyn’), and unfunny jokes for the commercial lead-ins to obscenely bad movies.

His peak of notoriety came during a heavily promoted 3D movie, broadcast into homes for the very first time.  After tons of hype, let’s just say the effects weren’t exactly Avatar quality.  The station was even the subject of a class action lawsuit from viewers that didn’t get enough 3D from the 89 cent red and blue glasses that were purchased at 7-11.  Check it out below.

And speaking of catch phrases…   Cellozi and Ettleson (Nick and Maury to their close friends) certainly honed in on a good one to make them the #1 Chevrolet dealer in the country.  With their deer-in-headlights stares and iconic contrasting body styles, they alternate lines, finishing each others’ sentences like soul mates and building tension for the big reveal at the end: the dramatic emergence of a large stack of bills from slightly off-screen, when they simultaneously deadpan “where you always save more money.”   There’s nothing like creating the mental image of an eager consumer walking into the Elmhurst dealership with huge stacks of hundreds to pay for his new Chevy, yet keeping a bunch in his pocket when the transaction was complete.

Got Lujack and Tommy and Animal Stories on ‘LS
With Daley and Davis and Alderman Burton Natarus

The wacky morning zoo was pioneered by Larry Lujack (Uncle Lar) and his on-air sidekick Tommy Edwards (Little Tommy), mornings on WLS 890 AM.  Animal Stories was a popular segment in which strange tales from the animal kingdom were read aloud, with requisite zany sound effects and cheeky commentary, to the delight of listeners.  The whole thing hearkens back to a more innocent day of radio when the DJ could be the toast of the town, regardless of partisanship or willingness to get scatological.

Next, Big Sky delves into the seamy world of Chicago machine politics.  I suppose Daley could refer to either current “mare ” Richard M., or Hizzoner Richard J.  I’m not sure who “Davis” refers to, but Burton Naturus — which is a great name for anybody, especially a distinguished public servant for nearly 40 years — is the longtime alderman of the 42nd Ward.  Until I heard this song, I didn’t realize how badly this name cried out to be sung.  Just listen to the the sound of “Naa- taaaaa- rus”, and you’ll be singing it, too.

Rockabye your baby (Harry Schmerler is not afraid)
Rockabye your baby tonight

The singing Ford dealer is the source for the tune’s catchy refrain.  I can’t help but wonder if this concept would fly in an advertising boardroom today.  Certainly a plain looking pitchman, with a giggle inducing name (Harry Schmerler sounds like something you’d go to a dermatologist to get removed by lasers), may not have the sex appeal that today’s demographers are looking for.  But, then comes the truly WTF moment — relaxed and confident, Harry appeals to potential car buyers by crooning “Rock-a-bye Your Bay-beeee” directly into the camera and announcing himself as “your singing Ford dealer“.  Because who doesn’t secretly want a bespectacled car salesman with a rich baritone and no shame?

I was still a young child when i heard the Disco Demolition
The Empire Carpets guy was a man on a mission (588-2300)

If Uncle Lar and Little Tommy were Chicago’s morning zoo, Steve Dahl and Garry Meier were the original Chicago shock jocks.  Like most entertainers in this medium, even to this day, the listener had to suffer through 55 minutes of tedium (and commercials) to get to five minutes of comedic material from Steve and Garry.  Though their radio careers have continued in Chicago until the present day, they most famously pushed boundaries in the age of UHF.

They will probably most famously be remembered for two reasons.  First, the ill-fated Disco Demolition Night, held as a promotion at Comiskey Park between games of a White Sox twi-night double header, it devolved into a full-on riot and resulted in forfeit of the nightcap by the Sox.   Second, their acrimonious parting of ways in 1993, which was drenched in finger pointing and shockingly personal accusations.

Does the name Lynn Hauldren mean anything to you?  You probably know Lynn better as the originator and portrayor of the Empire Carpets spokesman.  Either decked out in his workman-like denim outfit, or otherwise playing the role of everyman, his stoic good-looks and gentle demeanor resonated with viewers and — along with the most catchy phone number jingle EVER (which Hauldren freaking WROTE) –  made Empire synonymous with home shopping and speedy, reliable delivery and installation for all of Chicagoland’s carpet needs.  This guy was the face of Empire for so long, Chicago TV viewers literally watched this guy grow into an elder statement and eventually turn animated (he continued to voice the character).  Bissell Rug Shampooer, anyone?

Victory auto wreckers gives you cash on the spot
Saves you money on used parts to fix the car you’ve got

One of the most enduring images of the UHF era was the car that was such a piece of shit that just touching the door causes the whole damn thing to fall off, leaving its owner no choice but to throw his arms in the air in exasperation.  But hey, at least he is handed cash ON THE SPOT.

I’ll be out in the Alsip Elk’s Club, I’ll be feeling no pain
Yes and old Frazier Thomas, he fixed the Grand Prize game

The first half of this stanza, refers to The Alsip Elk’s Club, so either:

- My ears deceive me and I’m hearing it wrong
- There is some kind of inside joke that I just don’t get, or
- This is an important part of lost Chicago culture that somehow is out of reach of Google

The second half is related to Frazier Thomas, ringleader of the Bozo Circus, and of host of The Grand Prize Game — the ping-pong-ball-in-the-bucket challenge, that pitted children in a ruthless test of skill for highly desirable toys and prizes.  WGN has actively protected video footage of the Bozo show from surfacing on the Internet, but the following video survives;  somebody’s home movie of the Bozo set, taken in 1977.

And the Dreaded Dukes of Berwyn, we bid you to come on back
A fight in the dark side of the the cloud with Vrdolyak, all right

Again, I’m not sure if I’m hearing this right, but this phrase at least sounds familiar and could be related to Rich Koz/Svengoolie, if the Berwyn reference was transcribed correctly.  No clue as to what the “fight in the dark side of the cloud” is referring to, but Ed Vrdolyak is the vowel-challenged, party jumping alderman who was mired in controversy throughout his political career but was always colorful and made for good copy.

There is another stanza tucked in there that starts with a reference to the glorious Walter “Sweetness” Payton and the 1985 Chicago mega-hit The Super Bowl Shuffle, but I left it out of this writeup since the second half is unintelligible to my ears.  What favorite Chicago memories do you have?  What am I missing?

Catch Big Sky Stringband perform “Rich Koz” and much more at Brixie’s in Brookfield (it borders Berrr-vyn!) on May 15th.  Tickets are on sale now.

Update 5/11/2010

Full lyrics courtesy of the band with added insight below

Hats off to Rich Koz, he’s the son of Svengoolie
Celozzi and Ettleson make me feel so unruly
Got Lujack and Tommy and Animal Stories on LS
With Daley and Davis and Alderman Burton Natarus

Rock a bye your baby, Harry Schmerler is not afraid
Rock a bye your baby tonight

I was still a young child when I heard the Disco Demolition
The Empire Carpets guy was a man on a mission (588-2300)
They call him “Sweetness” and you know that he likes to dance
Stand aside for the Law brothers you know them as Rudy and Vance

Rock a bye your baby, Harry Schmerler is not afraid
Rock a bye your baby tonight

Victory Auto Wreckers gives you cash on the spot
Or saves you money on used parts To fix the car you got

I’ll be out in the Alsip Elk’s Club, I’ll be feeling no pain
Cursing old Frasier Thomas, he fixed the Grand Prize Game
And the dreaded Dukes of Berwyn we bid you “come on back”
After fighting the dark side of the Clout and Lord Vrdolyak

Rock a bye your baby, Harry Schmerler is not afraid
Rock a bye your baby tonight

It appears that what I couldn’t hear from the recording was a line about the “Law brothers”, Rudy and Vance.  Rudy and Vance Law, not actual brothers (and one look at the two of them together would end that suspicion), were teammates on the White Sox of the early eighties.  Vance went on to play for the Cubs by the end of the decade.

Davis, of course, refers to Alderman Danny Davis, which I kick myself for not getting.

And finally, our friends at the Museum of Classic Chicago Television point out that the “Metromedia” logo that I had used for Channel 32 has unsavory overtones of the transition to Fox.   To quote…

My only quibble is the inclusion of a “Metromedia 32″ logo in there, since their ownership of WFLD/32 was relatively short-lived and arguably set the table for what Fox later did to the station. They helped put Son of Svengoolie on life-support at least, if I have my timeline correct.

These guys really know their TV.  They recommend using the logo below, so I’ll oblige.

What’s more, these sounds are highly combustible.  Like the proverbial powder keg, these musical forms are ready to take new shapes in the hands of creative and inspired musicians.

Start with your traditional acoustic music.  Add a smattering of electric instruments, perhaps some drums or percussion.  Borrow some elements from cajun, old-time, Delta blues or other traditional forms — but don’t forget rock-n-roll,  it could be straight up classic rock or maybe an edgier punk or indie sensibility.   Sometimes its just plain attitude — in the tunes or the lyrics.

These are the elements that open the portal to the new acoustic music. More than ever before, bands are delving into this bag of tricks to stand apart, establish their mark and forge the path into exciting sonic realms.  Blending the gravity and deep human connection of acoustic music with more unpredictable elements, these bands overcome nostalgia and forge ahead with a reverential nod to traditions.  Evocative of the boundary-breaking ethos of the Newgrass heroes of the Telluride Bluegrass Festival, these are bands that will carry that spirit forward for the next 30 years.

What follows are 10 bands that live in this space and have been burning up my playlists as of late.  They are on the front lines of taking acoustic music to surprising new places.

1. Avett Brothers

A decade strong after dissolving their rock band, Scott and Seth Avett, are rising stars on the back of their unique approach to acoustic music.  Case in point: the opening tracks of their last two albums stand like two pillars of the Avetts’ musical language.

“Talk On Indolence”, from Four Thieves Gone, is an infectious, upbeat, dare-I-say raucous song that serves as a calling card for what this band brings to the acoustic table — chuggging banjo, half-sung/half-shouted lyrics, and witty, rakish charm.  With just the right amount of inidie spirit, I like to think of the sound as something I call Carolina-by-way-of-Brooklyn.

Nowhere is this approach more evident that on the title track of their major label debut, I And Love And You.  The line “Brooklyn Brooklyn take me in / Are you aware the shape I’m in”, evokes such poignant melancholy, and what follows wrenches the heart as it emboldens the spirit.

And the Avett brothers are more than just opening tracks: with eight LP and four EP recordings, you can jump in to the Avett Brothers catalog at just about any place and you’ll have plenty to keep you busy.  Extensive touring, including opening slots for Dave Matthews Band and Widespread Panic, have helped refine their live sound and build a diverse and devoted following.  Catch them now at what should the most exciting time in their career — the brink of stardom.

2. Yonder Mountain String Band

Rocky Mountain bluegrass has occupied a seperate and dynamic lineage than bluegrass that has flourished elsewhere in the country.  Hailing from the mountain town of Nederland in the foothills above Boulder, Yonder Mountain String Band represents the logical evolution of Colorado bluegrass and are the successors in the progression that leads from Hot Rize to Leftover Salmon to the present.

Yonder On Stage

The band’s first two albums, Town By Town and Elevation, laid the foundation for its marathon, jamgrass live show.  Providing  a bed of solid tunes that feel like they have been with you all your life upon the first listen.  Emulating a rock show more than a picking party or hootenanny, Yonder has been delighting its hardcore fan base, truly inventing a unique space that’s little rock and little bluegrass, but can get blisteringly fast and certainly gets the crowds dancing.  They were the first band that I heard that brought the concept of extended jamming in a bluegrass idiom.

So where do they go from there?  Yonder’s last two album’s have brought bluegrass into the same spaces that a band like Wilco brings to rock music.  With the addition of drums — including havng the kit manned by none other than Phish’s Jon Fishman in select shows — the band showcases a mature songwriting and tasteful, but innovative, use of the studio, that constantly reaches out for the “new”.  Banjo player Dave Johnston explains “You shouldn’t try to recreate the 1940s. I like to think of us as informed by the past and all the great performers before us.  But we also want to look forward rather than give people something that has already been perfected.”

3. Donna The Buffalo

Twenty three years into a musical career, Donna The Buffalo’s amped up acoustic music certainly has staying power.  With fiddle, acoustic guitar, and accordian each adding some flavor, the band can span the musical gamut.  Swampy New Orleans funk, countrified folk-rock, reggae and zydeco are all fair game.  Some may not get the reference, but I like to think of Donna The Buffalo as the NRBQ of  acoustic music — quietly plugging away, doing yeoman’s work to fill the world with music that is honest and sincere.

It figures that I recently saw the band play at one of NRBQ’s frequent Chicago areas stomping grounds, Fitzgerald’s in Berwyn.  There, the band navigated its way through each of the these styles, showcasing the multi-instrumental prowess of Tara Nevins and subtly charismatic presence of Jeb Puryear.  I was impressed at the devotion and attention of the Thursday night crowd.  And why not?  Donna The Buffalo gives them exactly what they want — music that makes them feel good, about themselves, the world and their place in it — it is music of-this-world, carrying itself with deceptive simplicity and humanity.  And it doesn’t hurt that it is a downright good time.

Download audio file (Funkyside.mp3)


4. Cornmeal

All the success in the world is due to Cornmeal for doing things the right way.  What does it take to get a bluegrass collective from Chicago to make an impact on the national stage?  Dedication to the craft, honing chops gig after gig after gig, and an innovative approach to a traditional musical idiom. Their reward? Leaving a trail of progressively bigger venues and a rabid fanbase dotted across the nation.  Through years of playing together, they have honed in on the key to using drums in bluegrass and the result is some big big jams.

Improvisation is at the heart of Cornmeal’s appeal.  Their style of jamming stands a part even from the other bands on this list — evocative of the frenetic bluegrass / rock hybrid of YMSB, but transcending into a sound all its own.  Extending tunes in a manner which engages the listener, using musical patterns, thrilling improvisational runs and — like the best jambands — its not a matter of simply stretching it out, but creating on-the-fly.

Cornmeal (Photo By Norman Sachs)

5. Old Crow Medicine Show

Old Crow Medicine Show just has a knack for making the old seem new again.  I suppose one might call them revivalists, given that their repertoire includes early twentieth century old-time, folk blues, country and bluegrass tunes and plenty of originals in that style.  A peek beneath the surface reveals something more, and it cuts to the heart of what makes stringband music so endearing for literate, passionate and conscious music fans.

Most OCMS tunes pack enough soulfulness, social commentary or allegory to make you think and feel as you’re tapping your toes to the driving rhythms and raw vocal harmonies.  If you’re looking for acoustic music with a little attitude, lyrics that cut deep upon reflection, give one of their records a spin.

Of particular note, the tune “Wagon Wheel”, from their debut album, has an interesting pedigree.  Based on a Pat Garrett and Billy The Kid-era Bob Dylan tune that was salvaged from barely listenable bootlegs, OCMS maintains the themes and melodies of the original but completes the musical ideas in a satisfying way.  For a band in the reinvention business, this is par for the course.  The list of songs co-written with Bob Dylan is a short one, but one listen to this infectious and rollicking bit of folk will make you realize why the honor was deserved.  Incidentally, a cover of the OCMS version is in the repertoire of Big Sky Stringband, performing at Brixie’s in May.

6. Hot Buttered Rum

Hot Buttered Rum made the leap from pure string band to an acoustic rock act with the addition of a drummer.  And what a drummer they have selected!  Matt Butler supplements his “other job” of conducting the revolving stable of jamband superstars known as Everyone Orchestra, with a stint behind the kit of the HBRSB.  Butler’s presence alongside founding members Aaron Redner, Bryan Horne,  Erik Yates, and Nat Keefe, completes the circuit from a bluegrass band to rockgrass, something akin to a progressive take on bluegrass which strikes a balance between Bill Monroe and a modern pop aesthetic

Hailing from the Bay Area, they are everything that you’d expect from a band gigging around the heart of Garcia country for a decade… fostering both a laid back and listenable left coast vibe and inspired pranksterish lunacy.  A couple of their shows on the archive even feature some mini-sets of Grateful Dead tunes and other choice covers.

Download audio file (Sugaree.mp3)


7. Railroad Earth

The first thing that grabbed me about Railroad Earth was that voice.  Singer/songwriter/guitarist Todd Sheaffer’s plaintive, high country wail is strong, elastic and definitive — he sounds like nobody else.  The second thing that grabbed me was just about everything else.  RRE brings the varied sounds and colors of a wide instrumental palette to the table, including expert fiddle and mandolin playing by two of the best in the business (Tim Carbone and John Skehan).  Propelled by Carey Harmon’s rock oriented drums, upright bass supplied by Andrew Altman, and the multi-instrumental prowess of Andy Gosselin (guitars, banjo, dobro, fllute, saxophone… among others), this band is just dripping with talent.

And what wonderful sounding records!  Crisp and out-front, RRE’s version Americana just pops out of your stereo; a nice setting for the hybrid of rock and folk and jazz that was inevitable when so many standout player are in one band.  In its live setting, it can even get downright psychedelic.  Its no surprise that Tim Carbone has brought that sound to a producing career, helming the boards for the Ragbirds, Greensky Bluegrass, Boris Garcia, Moonalice, Great American Taxi among others.

If you can’t immediately fall in love with the tune “Hard Livin’” from Amen Corner, I weep for you.

Download audio file (HardLivin.mp3)


8.  Dawes

Maybe acoustic is not the first thing that leaps to mind when you hear the music of Dawes, but these guys have had me wrapped around their fingers since the release of North Hills in August, and I had to include them on the list. Sure, there is acoustic guitar, but there are also hints of the fine acoustic albums of Neil Young an his sometimes bandmates of CSN, and that type of songwriting is worth an awful lot.

“Authentically vintage” is how Rolling Stone describes the sound, recorded to analog tape, on North Hills.  Call it what you like, but Taylor Goldsmith has a way of turning a phrase, melodic, sincere, and heartfelft, that makes the lyrics come to life.  Next time you think that they don’t make ‘em like Warren Zevon or The Band anymore, have a listen to the simple, yet emotionally rich melodies that Dawes offers, and rest assured that the future of this style of music is in good hands.

I need a graceful, proud way to let go
To smile and accept the things that you don’t know
The losses and the gains blurred
The weight of these as last words  – Dawes, “Love Is All I Am”

Hell, I can barely even read those lyrics without welling up.  Have a listen and you just might have to grab a kleenex box.

Download audio file (Dawes.mp3)


9. Big Sky Stringband

Made it this far?  You found the easter egg — the band that’s playing The Barn’s next show on May 15th.  After weeks of submerging myself in the music of Big Sky Stringband, I’m ready to declare that these guys live in the same neighborhood as the eight bands above.  Anchored by acoustic guitar and mandolin (Jay Stanek and Chris Meier), and a commitment to songwriting with a flair for the back country, Big Sky zeroes in on the emotional center of acoustic music.

Big Sky String Band - Appearing At Brixie's on May 15th

The inclusion of electric guitar and drums (Brandon Cochran and Zach Malasto) make these guys comfortable exploring the paths blazed by Neil Young, Bob Dylan and the Allman Brothers Band, as well.  The wild card is fretless bass playing of Dick Mallory, which veers them off into jazz territory.  Its this combination that allows the band can stretch out on a tune like Grandpa’s Groove, but also keep it clean and simple on other originals.  Truly anything goes in the live show, Big Sky’s take on Guns N Roses’ “Paradise City” is apt to bring down the house for just about any crowd.

Download audio file (ParadiseCity.mp3)


Saturday, May 15th will be a great opportunity to showcase all that their live sound has to offer. So, grab a ticket, and get on down to Brixie’s.



Starting in May, we cross the border into Brookfield and plan two shows at the legendary Brixie’s.  Quite simply, this venue is an institution.  For 76 years, this family owned establishment has served revelers from Brookfield, La Grange and beyond, with fine service, an impeccable selection of beverages and a room that provides just the right configuration and ambiance for taking in music and socializing with good friends.

This year, the management is giving the Brixie’s tradition a kick in the pants.  With a new look inside, a full service kitchen serving up a creative, diverse and delectable menu, and a burgeoning partnership with The Barn, now is the time to experience all that this great room has to offer.

You know what goes good with incredible live music?  Beer.  And Brixie’s offers 32 beers on tap and 100 more varieties in the bottle.  They treat beer as with the reverence and respect that centuries old brewing traditions have earned.  Friendly bartenders will be happy to make a recommendation for that you won’t find anywhere else in the area.  So, while tipping back a Dogfish Head Chicory Stout or SKA Modus Hoperandi, you can enjoy the best quality live music experience in the Western Suburbs.

We can think of no better way to christen the new venue with with two incredible new shows — we absolutely love these bands!  This is quintessential Barn music.

On Saturday, May 15th, we are proud to present Big Sky String Band — five guys committed to taking acoustic and Americana music to the the places that rock fans love.

On Saturday, June 19th, The Steepwater Band will take the stage at Brixie’s.  TSB just spent the spring opening for Gov’t Mule across the Midwest and gigging Europe with Marc Ford (Black Crowes); they have returned to Chicago to bring their firebrand mixture of delta blues, soulful boogie and backwoods psychedelia to the hometown crowd.

Please continue to visit our website over the next couple of weeks (or become a fan on facebook for more frequent updates), we’ll have some great features on each of these bands and link you up to some of the audio and video content that you’ve come to expect from The Barn.  We’ll still be bringing all of the Barn’s trademarks you’ve come to love — advance ticket sales, high quality production values and an emphasis on the fan experience — to shows at Brixie’s, and they’re 100% committed to realizing our vision.

See you at Brixie’s.

Congratulations... you won!

What are the prizes?

Still to be determined, but we can assure you that these prizes will be something of value and something with broad appeal (no white elephants).  The exact value and the number of prizes will be finalized based a sliding scale.   What drives the sliding scale?  Well… let’s be honest, the number of people who show up!  The more singers we have, the more competition and the greater conceivable number of variations amongst the performers (think… best male / female, best duet, best group). Reason number one to tell your friends and get them out to this event.

What exactly are the categories in this competition?  What constitutes the best and worst performance?

The idea here is to both get to hear some people who can really sing, while also encouraging participation from everybody at all levels of talent.  For us, the best karaoke is when the singer’s heart and soul is evident in the performance, regardless of whether they have American Idol-worthy vocal chops.  When you’re connecting with the music, when your love of the song comes out, when you are truly entertaining the crowd… that’s when the magic happens.  And that’s what we’re looking for.  Heck, bombing is a part of the grand karaoke experience.  We want to embrace that and even (gulp) playfully encourage it.

Check out this video to see what we mean…

Who are the judges? How are these prizes voted on?

Rather than pin down a panel of judges, we are going to let the wisdom of the crowd help make some decisions.  We’ll have several objective observers judging the quality and quanity of the audience reaction.  If you are set on taking home a prize, its a good idea to get your peeps out and have them cheer you on.

Granted, there is some subjectivity involved, but hey, talent contests are subjective.

What else do I need to know?

You don’t have to be present when the winners are announced to claim your prize.  We’ll notify you by email and also announce the winners on our website and distribute your prizes to you after the event.

Most importantly, have some fun.  At the end of the day, this isn’t about prizes.  This is about getting up on a real stage with a real band, with awesome sound and rock-n-roll lighting and expressing yourself.   It is connecting with the music and putting on a little show.  If you can do that, you’re putting yourself in a position for a prize, too.

To summarize, we’re suggestion you come out with a great attitude and no fear.  Come with a crowd and get the word out — we know this type of thing is more fun with a group anyway.  You can also save a few bucks by buying tickets in advance at Brown Paper Tickets.

See you Saturday!