Free Range Drink Up Buttercup @ Santos Party House

Santos Party House has a nice vibe, and I love the space. The stage is wide and deep, which offers a lot of room for the performers. It has just enough space for the audience, not too big or small. Its square shape appeals to my feng shui sensibilities.

It was a fun, relaxed atmosphere at The Santos Party House, presented by Adult Swim. Our two hosts, Dave Willis (voice of Carl and Meatwad) and Dana Snyder (voice of master shake and Granny on squidbillies) had a prime-time audience familiar with the shtick and inside jokes ready to dive to pick up random objects being thrown from the stage. The early bird crowd was feisty for 7:30 so when Drink Up Buttercup was introduced, I was surprised that they seemed unfamiliar with what they were about to experience.

The light hues and added fog worked so glowingly with Drink Up Buttercup's electrifying over-the-top set. The larger stage area let Ben Money out of the cage to strut, stagger and pluck in free-range mode. His bass was never in the horizontal position. "Honey Honey" sounded great with an Afrobeat that slowed down only to re-energize in full force. It didn't take long before DUB's enthusiastic infection spread. They announced the last song, but after it was finished, the audience demanded more.

Oakley Hall Had a pretty long setup and sound check for their very short set. They are a country-tinged band with gospelesque vocals with some nice instrumentation. I especially liked one of the songs where the bass and vocals compete sonically. They ended with a multi-layered vocal that made me think I heard a full church choir. Unfortunately, It ended before it began.

Marnie Stern and company were a delight. A wild veteran punk hybrid of sorts where instrumentation is important, but the raw is magnified. Marnie's high-pitched yelps were spliced perfectly between her faced-paced guitar leads using both hands up the fret. The sound is less nuanced than typical guitar leads. Her confident attitude is striking, and she enjoys playing her instrument. Malia James played the bass and applied rhythms in a reactive style. The drummer Jim Sykes deserves major Kudos! Keeping time with unstructured rhythms is an art form. I was instantly taken with the sound and spirit of Marnie Stern.

A crazy unexpected highlight of my night was a campy, kitschy visit outside the venue by a rocking mini bus on wheels blasting music and filled with an energetic dancing crowd. It was the I Got A Heart On promotion for the new independent movie Paper Heart. The bus stayed in place for about twenty minutes. When the driver started the engine, the bus pulled away from Lafayette Street "Day O" (the Beetle Juice version) accompanied the sweaty dancing bodies! How Fitting.

Drink Up Buttercup OCM Flickr Set Marnie Stern OCM Flickr Set

Paper Heart Bus OCM Flickr Set

Drink Up Buttercup Full Tilt Acoustic @ Northside Fest

Drink Up Buttercup's performance at the Trophy Bar at the Hooves on the Turf showcase for the Northside Festival blew me away. The Drunken barbershop quartet proceeded with full-tilt acoustic gusto. The diaphragms of all three vocalists were in working order, enough to project across the packed bar space. With only one instrument mic for the guitar available, their loud and passionate harmonies rose above aggressive percussion and the plugged-in Casio. Drink Up Buttercup's spirited set was the kind of commotion needed late in the afternoon.

Guilty as charged, I contributed to the first round of drinks, and too many followed within the set. But the band put on a spectacular show and somehow had enough energy to be whisked away in their van to do a video for L magazine. When I asked Simon, their manager, where they were going, he said, "to North Sex" in his thick Irish brogue. At the time, it all made good sense. I was just too aroused to realize they were off to North Sixth Street.

L Magazine Hosted the first Three-Day Northside Festival

Shilpa Ray, Drink Up Buttercup; Piano's review

I specifically went out tonight to see the first night of Shilpa Ray and Her Happy Hookers residency at Piano’s. Drink Up Buttercup opening was added incentive for a late Wednesday night out.

Drink Up Buttercup never disappoints. In Late April, they opened a two-night stint for Dr. Dog in front of an 800-capacity crowd. Tonight they came with the five remaining copies of their beautifully packaged 7" release on Kanine Records.

DUB live set had new intensity. Their movements on stage were faster and harder to capture on film without proper speed adjustments. They were quite adventurous, transitioning from one song into another, adding some edgy, unexpected noise, featuring a new rollicking rock song, and morphing song standards. Most bands profess a style and do variations on it. Not DUB. They change styles and genres within songs, making variety part of the mix. Last night only exemplified that which sets them apart.

Listen @ Muxtape
DUB Flickr Set

Shilpa Ray and Her Happy Hookers
There are not too many female-fronted bands that I feel strongly about. Feeling privileged to have seen Tina Turner with Ike, Janis Joplin, Patty Smith, and Tracy Nelson reminded me of how much I miss hearing female vocalists with deep powerful effects.

Shilpa Ray has the WOW FACTOR. Her raw, gritty sincerity can be felt. It isn’t just about wow she can belt, it is the authenticity of lyrics mixed with sincerity of delivery. I love her foal-mouth lyrics and how she unabashedly owns them.

Shilpa Ray was center stage directly behind her Harmonium and flanked on either side by the solid tight band of four male Happy Hookers. The band can deliver a punch, and their thriving presence was heightened by Shilpa’s vocal acuity. And it was loud, hard, and strong.

Watching Shilpa play the Harmonium and sing was fascinating to witness. Leaning forward, she undulated above and below the instrument. At times she laid her head below that, affording her pacing and build-up between wails into the mic. The drumming was powerful and masculine. The small Casio, guitar, and bass created orchestrated pop of magnitude and awesome noise. The only subtlety was the occasional vocal harmonies and shaker.

Shilpa Ray can Rant!
It was an unusual night for my first introduction. Upfront with all the other Photographers / Bloggers, I took shots (Photos) while listening to the music. We were many, lining the entire width of the stage. In a larger venue, our numbers wouldn’t look so imposing, but at Piano’s, it felt wrong. After the first song, she went into a rant, starting with “Fuck all you Bloggers.” At that, I immediately put my camera down. She said, “I’m drunk and probably will forget all the words, I don’t give a shit what you think.” To that effect. I felt pangs of guilt and self-doubt, thinking, who am I anyway. And she was right. I stopped to live for the moment and to feel the music along with the enthusiastic fans. The uninhibited rants of truth continued for the rest of the set, but the music is what penetrated and sustained a lasting impression. Catch them for their last residency show at Piano's on May 27th!

I purchased eight songs self-released EP, A Fish Hook An Open Eye, and listened for the late ride home. Still listening! Review soon

Apologies to Wild Yaks. They opened, and I heard great things about their set.
Shilpa Ray Flickr Set

Sgt. Dunbar Packed Full Of Sound

Sgt. Dunbar and the Hobo Banned miraculously packed all eight members and an army of instruments onto the small stage Saturday night at Pete's Candy Store. The band twisted and contorted their bodies to accommodate the trombone's large expanse or the tuba's scale. Even in cramped quarters, their musical competence was not compromised. The sound of full-bodied percussion and brass burst with energy. Sgt. Dunbar delightfully gave it their all as the crowd chanted for it not to end! Dunbar has solidified their roster to a solid eight talented multi-instrumentalists. They are adept at switching instruments; a banjo is abandoned for a sax or a trombone to an accordion within seconds. This band's rough and tumble and charming quality has not been lost but upgraded to a tightly woven ensemble with every member contributing to a robust sound. 

The mix is a folk/jazz infusion with pulsating inventive percussion, big bold brass instruments that escalate with guitar, ukulele, banjo, violin, accordion, and an awesome full band of voices swell in-between. Percussion is a strong suit, whether they are playing the bass guitar with drumsticks, mouth harp, hand-held bass drum, and saw. The web and flow of acceleration between more subtle takes build the big stirring dialogue. They played an energetic nine-song set of old, new, and reclaimed songs. Starting with a new song to be released, “The Table and the Cup,” with a continuous pounding drum and a four / four-time accent of the full orchestra. Highlighting the influx of weathered jazz was another new one, “A March Through Charles Mingus’ Garbage Pile.” Alex Muro singing solo flanked by a chorus of passionate hobos and mashed with the one-two punch of brass orchestra strut and crashing cymbals. It is an awesome new direction. “The Weight” was revised with an accelerated tempo going from upbeat to mock speed and a full band chant / sometimes everything seems perfect / sometimes everything just sucks /. Sgt. Dunbar and the Hobo Banned have come a long way.

From the ambitious band, I reviewed a year ago with so much promise to a band with vision and purpose that is ready for prime time. Filling Pete’s is easy, but I see them in larger yet intimate venues like the Mercury or Bowery after tonight. As many NY Bloggers are reviewing the likes of David Byrne, I was happy to be there witnessing a new generation of great musicians. Get ready for March 13th the release date of Sgt. Dunbar and The Hobo Banned’s new EP Charles Mingus’ Garbage Pile. It is also the date of their tour send-off as they make their way from Albany to SXSW. Check their tour dates on MySpace, and don’t miss out

Scientific Maps opened. They are sometimes a twosome or foursome. Tonight it was Aaron Smith and Donna Baird. She is also a member of Sgt Dunbar. Together on stage, they are adorable. Aaron’s witty comments to the audience and affectionate interaction with Donna added to the delight of sharing time with such an affable duo. Tuning his guitar, he says, “Donna play that trumpet part when you know this happens.” Laughter followed as Donna played it straight as if she were just waking up and didn’t realize she was performing. Something about her is zany in the best possible way. The tunes Aaron writes are easy to love, kind of quirky pop with memorable melodies and offbeat lyrics. Their voices are great together.

Aaron, on guitar, sings and captures attention, and Donna adds a charming response with trumpet and vocal. The band's recorded material is upbeat, with drums, a keyboard, and experimental surprises. I’m ready to spend some time with their music; tonight was a nice introduction. 

Scientific Maps nice site Get ready for March 13th, the release date of Sgt. Dunbar and The Hobo Banned’s new EP Charles Mingus’ Garbage Pile. It is also the date of their tour send-off as they make their way from Albany to SXSW. Check their tour dates on MySpace, and don’t miss out. Sgt. Dunbar and the Hobo Banned Flickr Set Scientific Maps Flickr Set

Honne Wells with Juan Comas; Sound with Benefits

Wednesday night at The Stone Honne Wells stepped out of hiatus and onto the stage accompanied by musician/artist Juan Comas to bring Wells’ latest project to fruition. They played an array of string instruments tuned to specificity. The results were a dynamic assemblage of sound that was deceptive to the viewer’s eye but surprising to the ear. Put assumptions aside, the banjo, guitar, and zither sounded like high and low-pitched bell-like percussion sounds. The zithers hummed and swelled in a loop-like circular reverberation. The repetitive flutter plucking of the banjo had an unfamiliar quality, and the guitars played with a glass slide and strum beat asymmetrical patterns of percussion. The kick drum was true to form. This compelling mix was contrasted by the guttural low styling of Wells's voice. His vocals are low and vibrate into depths of gospelesque blues of hard times and tough luck. The unexpected results of playing live tuned the audience into the process. We were welcome receptors. All 4 songs clock in at about 10 minutes or longer. The first was the combination of two zithers, one fretted and one fretless, coordinating a long building dialogue between them. Honne repeated, / don’t feel like I’m alone anymore / never feeling home in this world /. Switching it up with two guitars, they created a high-pitched bell-like clank, and the kick drumbeat escalated to reflect Honne’s powerfull ramblings. Honne Wells's striking physical presence his neck stretched, chin upward, and stoic manner, captured the conceptual attitude. Honne introduced the next song “(Don't Follow Me Down To) The Bottoms” saying, “this song is written by Edgefield C. Johnston, a good friend of mine”. Repeating a graveling intense verse / You Can’t Ride with Me /. With banjo in hand, he plucked its strange tuning accompanied by Juan on the zither.  

He thanked Shannon Fields for curating and The Stone “for supporting artists and culture in this fair city”. Then he said, “I’m going to sing a song about murder”. “If you live in America you have obviously murdered someone to some degree”. The song began, and loudly he sang, “I have something that I must confess ess ess ess…. I just killed a man. Sometimes it is necessary to leave the bar venue behind with its loud, rude patrons there to socialize. The music takes a back seat. Just saw Honne Wells on Friday night Solo in just that situation and was determined to see him properly at The Stone. I’ve heard raves about this venue, and now I know why. Tonight it was music with benefits. The Stone provided the benefits of hearing music with no distractions and gave to the audience with no other agenda but to listen.

Solo Set at Southpaw

There are no refreshments or merchandise at The Stone. Only music. All ages are welcome. The Stone is booked purely on a curatorial basis. We do not accept demos of any kind. Each month a different musician is responsible for curating the programs, with 100% of the nightly revenue going directly to the musicians. Now that’s refreshing! The stone is a project of hips road, a not-for-profit organization Collector catalog from the Yell-O-Faith Experimental Recording Archive What The Lead Told Or Said 2005 -2007 The Analog Stone City Sessions 2006 Mother Pie Album 2007 -2008 Flickr Set The Stone Flickr Set Southpaw

Kidrockers Don't Kid Down; Jeffrey Lewis / Drink up Buttercup

Kidrockers is a great way to spend a Sunday at The Living Room. My tiny kids days are long behind me but seeing Drink Up Buttercup and Jeffrey Lewis solo with a roomful of mostly three, four, five to nine-year-olds was something I was not going to miss. Jeffrey Lewis and Drink Up Buttercup are both affiliated with Rough Trade Records. Their shared sensibilities but uniquely different music genres created an inspired lineup. Kidrockers is the perfect vehicle to expose the young to emerging and established music on the independent scene. Seeing music live true to form without filters is a Kidrocker philosophy. Their Non-commercialized approach to presenting music raw and full of energy or simply acoustic is the groundwork for a lifetime of appreciation.

The founders of Kidrockers Morton Lorge and Beth Lorge are fine hosts and curate fabulous afternoons of diversity in the music with Time Out Kids and their sponsor partners. Kidrockers don’t KID DOWN. So as an adult member of the audience much of the music and general banter is aimed at the adults without ever losing sight of the children's experience. The awesome MC team Seth Herzog and Craig Baldo took a few liberties with adult material. Their jokes were effortlessly delivered with clever and quick responses. They told the children “now watch your parents there is a two-drink minimum today”. In the middle of each performance set, they work the room with a mic in hand for a Q and A, much like a contemporary version of Kids Say The Darnedest Things. Waiting for the unexpected question is part of the fun. It was especially interesting hearing the non-questions, along with poignant ones. One boy raised his hand and recited abcdefg and Seth’s response was I think that’s a Feist song.

Drink Up Buttercup brings out the kid in me. I assumed they would play an acoustic set, but I was so wrong! Not at Kidrockers! The sound was loud but not nearly at the intensity of a typical Drink Up show. They do protect the little ears. The carnival-like atmosphere was toned down. They started with "Sozy and Dozy" a hard rocking zany children’s rhyme in a two-step rock polka. A treat was a great new song that repeated the word, honey. The kids politely took it all in not knowing exactly what to do, but when asked to join the group on stage, they eagerly marched up. The bombardment of little feet forged toward the stage, leaving only the timid behind. The Ramshackle miniature orchestra of percussionists accompanied Drink up for “Gods and Gentlemen." Drink up thought for their next song, the kids would follow them to the center of the venue for a stomp and clap sing-along. Watching the faces of the band turning toward their abandoned instruments to sing to their little comrades of music who stayed firmly on the stage was a riot. When the set was finally over, our MCs referred to it as the best trash can related Jam ever! 

Seeing Jeffrey Lewis has been a goal of mine. I think that I chose the best possible venue to see him perform. Nothing was toned down he was totally himself, yet his interaction and inspired off-the-cuff reaction to the kids were genuine and charming. The songs he chose to sing were sophisticated nursery tales with broad visions of a better world. He delivers his inspired lyrics through an idealistic lens of hopefulness but with the ironic witticism of a seasoned adult. The music celebrates his commitment to social justice, global warming, and a broad scope of issues using irony and humor. The banter was highbrow to adults' pleasure and charmingly sweet with the kids.  He played a great song that he had never performed live called “I’ve Been Everywhere.” He invited three enthusiastic audience members to hold the lyrics up, and he described them as avant-garde teleprompters. The questions for Jeffrey were great. “Have you been everywhere”? “When did you get your guitar”? “Do you write the songs yourself”? My favorite was, “how do you get your ideas”? His answers were sincere and thoughtful. I just loved him. If you have kids, I can’t think of a better way to spend a Sunday afternoon with them. If you don't, borrow a kid, or bring a nephew or niece, then check the Kidrockers calendar or subscribe to their newsletter for scheduled events at various venues. Their plans to take Kidrockers on the road are emerging. So LA, get ready. Gothamist interview with Beth Lorge Maryanne Ventrice Flickr set (Official Kidrocker Photographer!) Her Site!