Great American Taxi keyboardist-singer Chad Staehly brings us another tale from GAT’s recent travels.
We had been thinking there needed to be a John Hartford music festival for quite some time so when we heard that John Hotzie was putting one together with the Dillman family at the legendary Bill Monroe Music Park in Bean Blossom, IN, we didn’t even bother asking what they wanted to pay us. We were going to be there regardless.
It turned out that we’d basically be shooting halfway across the country in a matter of four days, a quick in and out with the destination being Bean Blossom. We added two bar gigs in Lincoln, NE and Iowa City to help us make our way to Kalamazoo, MI for a date with our good friends [and Impound favorites] Greensky Bluegrass. We were joining them for night one at their annual event opening up the beer garden at band favorite Bell’s Brewery. We were thinking about the Two-Hearted Ale the whole way.
The trip started in a sort of foreboding way as we discussed what to do with the new songs and record Todd Snider had just helped us produce in East Nashville. What’s a band to do that’s been grinding out 160-plus days on the road for the last few years and selling only several thousand of their last CD release, all the while barely making a living? Do we give the songs/album away? Do we quit touring and become a YouTube band? We discussed our lives and how it fit into the life we’ve built in Great American Taxi. I don’t know that we ever came up with a definite answer after hours of discussion…for now it was onto the next show.
Though Rory Gallagher thought fit to shelve the recordings he captured in the Bay Area in December 1977, it’s likely that Notes From San Francisco (released May 17 on Eagle Records) would have been regarded as one of his strongest, liveliest studio efforts. It takes only a couple tracks before one picks up on the musicians catching the mythical “pocket,” swinging spontaneously and collectively, chugging tough behind their mercurial, hard pounding leader’s big bear growl and relentless guitar invention. For blues-based rock, particularly in the waning hours of that decade, this represents as good as it gets, and though 33 years too late, we’re fortunate to finally be able to hear this lot.
While not a far cry from the albums that would have sat on either side of it – 1976’s Calling Card and 1978’s Photo-Finish – Notes From San Francisco hits the mark more often from start-to-finish than anything else in the 70s for Rory besides 1973’s landmark Tatoo. Gallagher is at his barstool philosopher best here, a gruffer cousin to fellow Irishman and bittersweet tragedian Phil Lynott (Thin Lizzy). Much of this rattles and grinds, but “Wheels Within Wheels” is one of his finest slow numbers and even had the potential to puncture American FM-radio in the era alongside the tailored ennui of Fleetwood Mac and Gerry Rafferty. Elsewhere, there’s the Latin horns meet slide licks of “Brute Force & Ignorance,” the gypsy musician’s lament “Overnight Bag,” and electric violin perforated “Mississippi Sheiks,” strings courtesy of Joe O’Donnell (East of Eden, Mushroom) – the late, great, very missed Martin Fiero also contributes sax to two cuts. Yes, there are plenty of electric guitar workouts but unlike a lot of shredders, particularly of his generation, there’s not a lot of fat and more than a dollop of light-fingered delicacy and eloquent, carefully chosen sting, these last two traits displayed beautifully on the “Little Wing”-esque album closer “Fuel To The Fire.”
This posthumous release is bettered still by a second disc containing a live trio show captured at The Old Waldorf in San Francisco in December 1979. Gallagher had dropped his keyboard player after seeing the Sex Pistols burn down Winterland and attacks staples like “Shinkicker” and “Tattoo’d Lady” with feral energy. The rhythm section of Gerry McAvoy (bass) and Ted McKenna stay close to Gallagher’s wild movements from blazing opener “Follow Me” to the closing frenetic, lighthearted cover of Huey P. Smith’s “Sea Cruise.” There’s a lot of reasons many ardent Rory aficionados consider true Gallagher to be live Gallagher, and this set adds more heft to their argument, though I think he’s nearly equally lethal and sometimes more visibly tender in his studio work. Whichever setting you prefer, there’s much to enjoy on Notes From San Francisco, a rare archival gem that holds its own with the official catalog.
While we haven’t heard the entirety of their new album, Dig Down Deep (released April 26 on Supply And Demand), based on this rockin’ clip and the tuneful goodness of their earlier records, we’re confident Vandaveer has delivered up another addictive, heart-wise long-player. Redolent of solo 70s Paul Simon mingled with the quirks and callouses of modern indie rock, Vandaveer – the shell for singer-songwriter Mark Charles Heidinger (ex-These United States) – is a subtle business, skirting one’s defenses to touch them where others get brushed away and managing to make us sing along at the same time. Can’t wait to hear all of Dig Down Deep, and the band takes to the road again on June 14 in Louisville, KY, heading westward until tour closer June 30 in Los Angeles. Full tour dates can be found here.
And check out the audio on another new track below.
Can you freakin’ believe this is the 40th Pounding? We’re a little surprised ourselves, and at how mix tapes have become part of the fabric of Dirty Impound. Folks seem to dig ‘em, and thus far we’ve offered up over 60 mixes in our inaugural year. In honor of our 40th and our anniversary week festivities, we’re giving you a double dose.
We continue to poke around the “Box of Intrigue” to offer you mostly new names to the Impound. Part One is almost entirely fresh artists alongside a taste of Dennis’ Albums of the Week (Manchester Orchestra and The Phoenix Foundation). Part Two swings easier with the “Box” holding a core of a new fave (Kiyoshi Foster) and some bittersweet pub rock.
And for those wondering why we keep the majority of the mixes to 13 tracks, it’s because we have a vague obsession with prime numbers AND because 13 feels just long enough to take little trip without having to pack anything or bust out a passport. Now press play and away we go…
If you experience playback problems, pop over to the 8tracks mix page and it should play fine.
We set the timer and snuggle in with our favorite new bands in the Impound’s version of speed dating with a killer-diller soundtrack.
The New Up by Dave Vann
San Francisco’s The New Up infuse the term “modern rock” with visceral presence, moving it many yards away from just another corporate record label sub-division header and pointing it arrow straight towards the horizon.
The hustle & bustle of contemporary life jostles inside their music. One feels the rush of things, the creeping cynicism of the now struggling with hard-won faith in things larger and more truth-packed than what we see with today’s eyes. There’s more than a little of the zeitgeist tapping character one encounters in Radiohead and Muse to The New Up, though this S.F. quintet oozes more raw sensuality than either of these forebears, merging classic rock’s wide-legged strut to contemporary sharpness.
While still primarily known out west, the band has toured nationally several times, building a budding DIY network around the U.S. with likeminded young bands, exhibiting an active engagement with all aspects of what it takes to get a new group in front of fresh ears. With The New Up there’s always multiple hands reaching out, seeking connections, even as they keenly pinpoint all the fractures out there.
In terms of pure musicianship and forthright charm, it’s hard to beat ES Pitcher (vocals, guitar), Noah Reid (guitar, vocals), Hawk West (flute and automation), Dain Dizazzo (bass) and Drew Bertrand (drums), who collectively ooze cool whilst attacking their songs with a pleasant possession, their craft a cause they pursue with knowing grins and irrepressible energy.
While last year’s Gold album showed the band moving into ever-more mature territory, the feeling with this bunch is there’s still way, way more to come. It’s for this reason and many others that Dirty Impound asked The New Up to play at our one-year anniversary party at the Boom Boom Room this Saturday, June 4th. We snagged lead singer ES Pitcher for a brief chat before the show.
We make no bones about our mad crush on The Soundtrack Of Our Lives, who produce a seemingly endless supply of quality rock. The band has been offering up tidbits from a recent gig in Slussens in Stockholm, Sweden. We’re particularly fond of the first number, whose first verse goes, “Here’s a way to let it roll/ And it’s a way to lose control/ It’s not a way to draw the line/ It’s just a way to say goodbye.” Once again, groovy is the word that springs to mind, and TSOOL really are. Some fun classic rock quotations in the second tune, too. They got the right; TSOOL is definitely a kindred spirit to The Doors, Dylan and other sturdy touchstones.
For the next month our weekly mix will be delving elbow deep into the “Box of Intrigue” to offer 50-percent or higher fresh artists mingled with tracks from bands we’re currently covering on the Impound. Happy to explore and bring back shiny things to lay at your feet…
If you experience playback problems, pop over to the 8tracks mix page and it should play fine.
Over the course of three increasingly strong albums Jason Isbell has proven to be one of the best young singer-songwriters to emerge from the South in the past decade. There were inklings of this during his three record stint with the Drive-By Truckers, but it’s leading his own lean, hungry band, The 400 Unit that’s revealed the depth and diversity of his craftsmanship and raw talent. An Alabama lost cousin to Warren Zevon and Elvis Costello, Isbell moves with stylistic restlessness through barroom rock, pure country shuffles and Muscle Shoals soul on his latest, Here We Rest (released April 12 on Lightning Rod), where his vocal range and subject matter nicely expand, adding yet more curves and angles to what was already a complex, fascinating musician.
You’ve been running your own band for a few years now. How do you feel the 400 Unit is evolving? Leading things is different than simply being in a band.
Yes it is, very different. I think this is what I’m probably most suited to do, either having my own band and sorta having veto power or playing on somebody else’s record and being told what to do. Either way I’m cool but the stuff in the middle I’m not that good at. I have to pace myself as far as the actual physical performance with singing and the like for a couple hours straight, but I’ve gotten used to it. It’s been long enough now I ought to be used to it.
The lineup in the 400 Unit has been relatively steady for awhile now.
That’s made a big difference. It’s made things a whole lot easier.
And you’ve got guys dedicated to serving your songs, which is different than being in a democracy, albeit a ragged one, like the Truckers.
The style of music we were making with the Truckers meant I couldn’t just do anything and it would work. With my band I can explore any whim or tangent I want to go off on.
New Album
The new record reflects that diversity in your songwriting. It’s a real creeper; a grower that settles into you. The first few songs charm you a little bit and by the time you hit “Codeine” you’re unleashing a lot of variety. The range of stuff you want to get to lyrically, thematically and stylistically has grown a lot in the last few years.
I get bored with writing the same kinds of songs. Sometimes people say that when a writer does that they haven’t really found their voice, but I don’t see myself writing just a bunch of country songs or rock songs or a whole bunch of songs about me. It doesn’t interest me that much. Maybe some people buy a record and if there’s that many different kinds of songs on there and it bothers them. It never really bothered me before though.
You write a lot of characters. In some ways it reminds me of Steely Dan, where there’s this unique universe they populate.
Yeah, no shit, it’s a different planet for those guys. I’m definitely interested in characters. Randy Newman does that and he’s one of my favorites; I think he has to be one of your favorites if you’re a songwriter. But yeah, it’s a whole collection of folks, and you’re in each one of them, where some of your characteristics spill over. I like going to that world to resolve my own issues.
Is that one of the roles of songwriting for you, pulling stuff out into the light to deal with it?
It can be an unpacking experience for sure.
Jason Isbell by Allison V. Smith
Is that scary though?
It’s definitely scary as hell. Everything’s scary if you think about it [laughs]. I just don’t think it’s very honest to not put some of myself in. I don’t have a problem with that. Most of the things I struggle with are the things most people struggle with.
Finding that common ground is one of the roles of music. The reason why we’re gathering around this particular campfire is because it’s a story we all need to hear. However, you do get into some heavy subject matter on the new album. Going back to “Codeine,” there’s a creepy sweetness to it that shouldn’t be there.
There’s a humor to it – a miserably, hung-over humor – which I guess was the mood I was in when I wrote it. It’s pretty dark thematically but there’s something about it that cracks me up. There are certain lines I really thought were funny and I didn’t want to run from that, which is really easy to do, to be too serious when you’re writing a serious song. It’s the mood I was in. It was really early morning and I really didn’t need to be woken up at that hour, and it all came very quickly, as quickly as I could write it down on a piece of paper.
It’s a gift when creativity comes to you that way, and it’s also a gift when one doesn’t filter out the dark bits they find funny knowing full well others might not chuckle.
Sometimes I can’t tell if something is an inside joke with myself or not, but whatever [laughs]. If I come back to it later and still get a kick out of it then I’ll keep it.
And it’s not as if the humor isn’t balanced by commensurately heavy stuff on the rest of the record. “Tour of Duty” is a really heavy ending note for an album.
The album sort of starts heavy and ends heavy, but I don’t mind that. You can always put something else on after the albums over [laughs]. If the album puts you in a bad mood you can put on Natasha Bedingfield afterwards.
Nice example. I don’t listen to much mainstream music but I don’t like to be ignorant of it, so I force myself to watch the video blocks on CMT, VH1 and MTV. I refer to it as “Looking Into The Abyss.”
[Laughs] I can’t make myself do that much. I don’t really mind it and some of it’s pretty good, but I don’t get much out of it. It’s a different job, different career for those folks. It’s the difference between being an ear, nose & throat doctor and being a podiatrist – it’s opposite ends of the spectrum.
Embracing things you laugh at that not everyone else will – because they refuse to or they’re too uptight to or whatever – is helpful to the rest of us. There are likeminded people out there and you’ll find them if you really have something to say.
Jason Isbell and the 400 Unit by Allison V. Smith
I think growing up here in [Alabama] and being different forced me to laugh at things. There are a lot of people here now that have found each other. There’s a real collection of weirdoes but it’s taken a while. It’s taken me 30 years to find people in my own hometown that I actually like hanging out with. I know it was that way for Patterson [Hood] and [Mike] Cooley, too. We had that conversation a lot. It’s not like in their day they’d go to school and find ten people to talk about Elvis Costello or XTC with. And me going to school, I’m not going to be able to find people to talk to about R.E.M., at least the first few records. You have to learn how to laugh at that.
You have to learn to communicate with folks about their artless lives and discuss whatever they want to talk about that’s not the least bit interesting. I think that skill has developed in me to the point where the level of poignancy increases. When you put up with people for a little while you get to the root of something that’s very similar. Maybe they don’t have this book to read or record to listen to but there’s something coming out of them on a Saturday afternoon listening to Kenny Chesney on the radio. They’re getting something out of it that’s pretty serious.
I’ve tried to have more empathy for that as the years have gone on. At 43, I’m not as anxious to piss all over somebody’s tastes if what they genuinely want is to listen to Trace Adkins or some shit. If it’s firing them up or giving them some pleasure it’s not for me to take the wind out of their sails.
Some of those folks care way more about Trace Adkins than some of my hipster friends care about Bloc Party – WAY more. They will fight you if you say you don’t like Trace Adkins. The hipsters aren’t fighting over Bloc Party. They just aren’t doing it.
So, what’s kept you in Alabama? For someone so interested in art and culture, why aren’t in New York City or San Francisco?
I like my family. I like being close to them and spending time together. And I have siblings that are young, and hopefully I can be some sort of influence on them to follow whatever crazy ideas are in their heads and do whatever it is they think they want to. My sister’s 11 and my brother’s 14 and it’s really easy for kids that age around here to fall into the same traps and routines as they kids around them and wind up working in a gas station. There’s nothing wrong with that if that’s what they want but I don’t think that’s what these particular kids want. Also, I like going to ballgames and dance recitals. I like hanging out with my mom and dad, and they’re not in a situation where they can move. I’m gone so much that I don’t feel traveling hours to see my family once or twice a year.
Jason Isbell and the 400 Unit by Allison V. Smith
The 400 Unit is a hard touring band.
Not so much last year but this year we’re getting shot out of a cannon again [laughs].
Whenever I’ve seen you play you always seem all in, no matter if it’s a handful of people or a thousand. When you get up on that stage it seems like everything else drops away.
That’s the only place you can hide sometimes [laughs]. Some of these venues don’t have a dressing room and the only place I can go where people don’t get at me is where I’m facing them under the lights. More than that, I really love playing, and no matter how my day has gone until that point, once you’re there you’re there. It’s great. It’s really the whole reason I do this, even more so than writing and making records. The connection with the band, the improvising every night onstage, and just playing music with a group of people you know are really good players is still probably my favorite thing about all of it.
When I started out, it was family members I was playing with. When I was very small, it was just part of the routine where we’d all get together every week. My granddad was a Pentecostal preacher and all of his family would wind up playing music at his house on Sunday. That’s how I started enjoying music in the first place.
