The Social Distancing Tour 2020

Today I like to focus on the music I am making together with my girlfriend once a week. We have called it The Social Distancing Tour, with thanks to our American neighbour for the inspiration of the name. So a little personal thing instead of a review.

When the "intelligent lockdown" hit the Netherlands, we had planned a living room show with Utrecht band Wooden Soldiers. In the weeks before the show, we had already concluded that it would be irresponsible to have between 20 and 30 people in our living room and had decided to push the show forward to somewhere in May. Little did we know!

When the lockdown followed soon after, I suggested to play for our neighbours ourselves from our front garden. They can sit in their own garden, stand in the doorway, or on their balconies, we have seen it happen. Word spread and every week a few friends come as well, but never in such a way that the 1,5 meter distance cannot be kept up. No advertising here, no invites.

We started out "easy". What songs can we do as a duo, singing with an acoustic guitar as accompaniment that we already play with the band? That is about 35% of what we do. From there we started to branch out. What would we like to play? A thousand songs of course but time is limited, although certainly a little less than usual, still there's a limit to what we can learn to play and sing, figure out harmonies, etc., in only a few days.

The result is that we practice together a lot. First we decide on the songs, new and old, relative terms as "new" only sees to our knowing the songs previously, then I start to figure them out how to play on guitar, after which we can start working together. All in all a five day process, with three days of practising together, including just before the show.

So what comes by? My girlfriend loves singing blues, she found out over the past years. So many a blues tune comes by. We are going to be playing non-band blues soon as well. For our Irish neighbours we learned two Irish folk songs, requests come in of which we were able to do a few so far. For Easter we played a song from 'Jesus Christ Superstar', but also did a song from 'Hair'. One of my favourite new ones so far is 'Son Of A Preacher Man', but I also got to play 'Wish You Were Here' an adequate title for an isolated Easter.

On the whole a lot of 60s hits come by. They somehow seem the nicest to play, with The Beatles, who else, leading the pack. Personally I have to say that singing harmonies like Simon & Garfunkel, the Mamas and the Papas, The Byrds, is simply gratifying. Yes, it takes some practising but when it comes together it is one of the pleasures of life. I'm not exaggerating here. 'The Sounds Of Silence' or 'California Dreaming' are a joy to sing (together).

We live in a street where the churn of people is extremely high. Expats, people living in between homes, who only stay for a limited time and are not interested in meeting neighbours. This has changed a little in the past year and now because of the Corona days something really changed. Our weekly show certainly contributed to that. People have met, start to know each other and have a drink together after a show. All on one corner of a car, keeping distance. Something positive is coming out of this crisis.

We have been told that neighbours share the photo's and movie clips they make with friends and family across continents. Australia, U.S., Latin America, Ireland are enjoying our playing as well. A neighbour's sister has started her own version in her front garden in the U.S. after seeing us play.

There's a personal little something musically I run into on a weekly basis. I have noticed how hard it is to keep time playing my guitar. The urge to speed up is tremendous. When playing alone there's no issue. For a singer dependent on me it is. My girlfriend keeps signalling  to me to slow down. Having a drummer in a band is so important for me to have. My own head does not provide a metronome. I had never noticed this so sharply until these weeks. More to learn!

The other side is that we grow as a duo in an enormously fast way. The practising does pay off. Getting a compliment is nice, I won't deny that, but to notice the growth ourselves, is gratifying. Whenever the band is allowed to practice again, there's no way of telling. Who knows?, it may be long time. Hopefully our growth will show in that context as well.

Making music is fun. Playing music is, writing about it is, but making it myself? That is another ballgame. Totally. Seeing the smiling faces, hearing people sing along, we know we have a little share in making sure we all get to the other side of this crisis. Whenever that is. At a minimum three more weeks to go.

We record the sessions for friends living further away. Now I share the link with you. Enjoy it, if you like, with the promise of more to come in the coming weeks. Ice, weather and Corona depending of course.

Wo.

https://www.youtube.com/channel/UCdVhKpLou2XQyv9-9ZHyJAw

.NoWordsNeedeD, 18-12-2017

https://www.youtube.com/watch?v=4a0Jk7RVjpc

.No

Kim Churchill live at Q-Bus, Leiden. 18-09-2014

In the past I've once bought an elpee on the basis of a cover, 'Sheik yerbouti' by Frank Zappa, but never before did I go to a show on the basis of a photo. Granted, it's not an entirely fair comment, because this was the Q-Bus and I wouldn't have travelled much further to see this show. But none the less, the picture on the Q-Bus website was so forceful. A guy with an acoustic guitar, longish hair shot from behind and slightly from below, as if jumping at least ten feet high. The picture is a showcase of energy. Kim Churchill caught 100% in his act. From what I saw yesterday, this picture ought to win a price as it tells so accurately who Kim Churchill is as a performer.

Not that Churchill jumped around a lot. All but for his final note he was sitting on a drummer's stool, playing his guitar, harmonicas, three toned kick drum, tambourine and miniature tubular bells. Finally there was something that is not an instrument, but defining for his sound: a large case filled with electronic effects for his guitar, voice and harmonica. That this guy travels around with his own sound man is a smart move, because his show stands or falls with a great sound. A true one man band.

The show was built up with expertise and showmanship. It started off like this guy who can play some excellent tricks on his guitar and make his harmonica wail like a steam train, but lacked real good songs. During the show Kim Churchill picked up steam, his songs started to come alive, my ears were pricked up and it all ended in sound storms, whirls of electronic noises, songs that had so much energy balled up in them that the Q-Bus started shaking on its very foundation. The guy made more noise that the nine piece Steely Dan tribute band produced together last week. Churchill tossed in a little Led Zeppelin, played unrecognisable in his own style and a sped up chunk of 'Subterranean homesick blues'. In short, his music ranges from folk, to folkrock, blues and classic rock. It's all in there in this blend that is all Kim Churchill, including some very interesting, alternative styles of guitar playing and who knows what tunings.

His voice reminds me of someone, but it keeps eluding me who, right up to now. Next to that there is the wail of Robert Plant and so much force, but apparently brought without forcing. The master of his voice. Yes, with loads of effects, echoes, reverb, whatever on it, but extremely forceful, powerful and loads of expression.

Of course I have to listen to his new album first to really be able to draw some conclusions, but from what I heard yesterday, this guy ought to be a lot bigger than the Ben Howards and Ed Sheerans of this world. Nothing compares as far as I'm concerned.

Normally I ought to be able to say within a few years: "Do you know where I saw Kim Churchill? At his first show in Holland"?!

Wo.

You can listen to 'Window to the sky' here:

https://www.youtube.com/watch?v=Iy04V45dgrw

Country Joe McDonald at Woodstock: History being made

Yesterday I viewed or listened to a lot of circa 1960 hits that presented itself on You Tube after I had clicked on the Dutch 1965 superhit 'Sophietje' by Johnny Lion. I had sat on a terrace overlooking the river IJ in Amsterdam and came home with 'Sophietje' in my head as the song goes "On an Amsterdam terrace". The song is with me for as long as I know, maybe for longer than I can remember, that it has always been sort of there since 1965. Clicking and clicking, Paul Anka, Neil Sedaka, Brian Hyland, The Four Seasons, Dion & the Belmonts, Del Shannon (My girlfriend: "I know all of these songs"!), etc. Until Woodstock came up and I listened to 'White rabbit' by Jefferson Airplane and then clicked on Country Joe McDonald. Despite the fact that I've seen the footage before on film somewhere in the late 70s and later several times on DVD, the song never before had so much impact. The performance stood out for me. But let me take you back first.

My teenage friend Frits' dad and mine were both merchant marine officers. Frits' dad brought home Taiwanese pressings of LPs (as mine would not much later). One of these albums was Woodstock. So in 1972 and onwards, we were listening to the official soundtrack album for whole days in a row. From Ritchie Havens all the way to Jimi Hendrix. With the exception of Paul Butterfield's Bluesband and to a lesser extent Santana and Joan Baez, I dug it. I dug it enough for a lifetime worth. The fantastic versions of Ten Years After's 'I'm going home' or Joe Cocker's 'With a little help from my friends'. Arlo Guthrie's beautiful 'Coming into Los Angeles'. the nutty madness of Sha Na Na, 'Volunteers' that spat of the vinyl: "This is morning maniac music, believe me ... It's a new dawn!". And the only available version, as far as I'm aware, of Neil Young's great song 'Sea of madness'.

In between this all is this anti-Vietnam protest done by one man with one guitar: 'I-feel-like-I'm-fixin'-to-die-rag' or 'The fish cheer'. One guy taking on the whole of the US establishment, government and military complex. First on this spot, then on record, on film and now on the internet forever and ever. If you look at the footage, you'll notice a few things. First the audacity to start "the fish cheer", "Give me an F, a U, a C, a K: "What's that spell?" and the audience answering, summing up. So much for the "fish" cheer. We see a man with long hair, bound in by a bandanna, a moustache, earring in his right ear and wearing army sergeant fatigues with a blue coloured scarf on his left sleeve, armed with an acoustic guitar. "A hippie". The footage shows the audience and Country Joe alternating. What amazed me is the impact of the song on those present. From amazement on the faces of people in the audience. 'Am I hearing what I'm hearing'? The singing along. Many people knew the song beforehand. Remember that almost all guys present at Woodstock, bands as well as audience, were at the draft age and could be sent to Vietnam any time soon. And then the most beautiful thing happens of all.

The camera angle changes. First it shows Country Joe's back and then goes up and zooms out ever so slowly to the audience, showing ever more people getting up to stand and sing, where everyone was sitting and listening before. An audience so large that it goes up the hill in Max Yasgur's cow field and perhaps disappears behind it. And all get up to sing and cheer with one man and one guitar. Yes, music can have a profound impact on people, but does it ever have it at this magnitude these days? After finishing the song, Country Joe McDonald stands up from his stool, waves with his guitar to the audience and walks backstage where someone approaches him, embraces and kisses him on the cheek. This guy realised that history had been made that evening.

For the first time it dawned on me what impact this performance had on the people present. Probably because it was isolated from the rest of the Woodstock movie. This way it touched me directly.

Listening to 'I-feel-like-I'm-fixin'-to-die-rag' yesterday made me realise that I only know two Country Joe (and the Fish) songs, both on Woodstock and never ever have heard another one. ('Rock and soul music' obviously being the other one.) One of it's albums was re-released recently. I intend to review it on this blog soon. What will it sound like?

Wo.

You can watch Country Joe McDonald at Woodstock here.

Rogier Pelgrim Live at Paradiso

You can listen to 'Our dear lady of the plains' here.

It was one of those nights. Going to a show of a band I know fairly well, Handsome Poets, and coming home impressed by the support act. All of a sudden a trio stood on stage. Anne Soldaat's much younger brother on guitar, a girl and a keyboard player. For me the click happened at the intro of the second song. A near perfect intro as I expected the fourth chord to be higher than G# (if I counted correctly), which is also the first chord. I had already noticed that this guy can sing. A pleasant voice, going into a higher register easily. The girl harmonised singing lower. To be honest, I hadn't a clue who were playing. Only after the show, while was getting drinks, my girlfriend looked it up.

By that time Rogier Pelgrim and band had utterly convinced me. This guy knows how to write a song, sing it and perform it. It seems to come natural to him and to the audience which was there to see Handsome Poets. In song three part of Paradiso had started to sing along, o.k., to a la-la-la part, but still. After the final song there was a real applause from the front to the back.

Somewhere during the show the singer said that they had won the 'Grote prijs van Nederland' and thus played the Paradiso last year for the final. I'm not surprised. Comparing this support act to Tim Knol's with Johan three and a half year ago, then Rogier Pelgrim is better than Tim was then; better songs and stage presence. Whether he can walk the same path, remains to be seen. Tim Knol was pushed from all sides on radio and tv before his first record was out.

Some of Rogier Pelgrim's songs were too soft for this venue. At least as a support act. Just the guitar was too soft to get over the back benchers, umhh talkers and shouters. Which will change with time if Rogier becomes known better. Mixed louder with an audience exclusively there for him. The mix between the up-tempo and the singer-songwriter songs worked well. Both got my attention and that of most people around me.

Keyboard and backing vocalist William van Barneveld and singer Jannica Woudstra are "the band". Both did a good job fleshing out the songs, but are both timid. The presentation can use an "umph" to make it perfect. For now good is certainly good enough.

Summing up Rogier Pelgrim is a singer-songwriter to watch. I can't wait to hear his songs with a full band, although I do not know whether that is his intention. Someone worth following. In a few weeks more on Rogier Pelgrim when we review his cd. Let me take you back to the start of the show. "One, two, three, four" and piano and singing kicked in. I could hear the guitar as I stood close. The way Rogier Pelgrim just stopped and plugged in with a small joke was endearing. It made me attentive for what was to come.

Wo.

You can order 'Our lady of the plains' here

Summertime (EP). Langhorne Slim & The Law

You can listen to 'The way we move' here.

This is a very aptly titled EP. Listen to opening tune 'The way we move' and not before long summertime feelings are upon me. Even on a chilly April night. A few pleasant honky tonk piano notes, slow horns and this rough, rough voice that leads the way. Langhorne Slim & The Law are everything that was before and will ever be on the edge of rock, folk rock, americana, country and soul. As American as this music comes and so, so much fun.

Summertime is the teaser for the new album, 'The way we move', Langhorne Slim put out on the net. The EP is worth some attention on its own. The four songs (plus an acoustic version of opener 'The way we move') show the versatility of the band. From the swing of the title song, to the southern rock of 'Bad luck' and the ballad 'Coffee cups', in which Langhorne Slim goes deep into missing the family, reminiscence and atonement and about going back home from all across the country. "I don't miss the east coast weather, but I miss my mum". It all comes together in the final song 'Summertime'. Striving to compete with the best of Violent Femmes and succeeding with the exception of the best songs on 'Hallowed ground'.

Langhorne Slim is Sean Scolnick, a 32 year old singer/guitarist born in Langhorne, Pennsylvania with Malachi DeLorenzo on drums, David Moore on banjo and keyboard, and Jeff Ratner on bass being The Law. On the record as said we hear more than just this band. Special effects add to the sound and atmosphere without impeding on the basis. Langhorne Slim is active as recording artist since 2004. With five records in the bag Langhorne Slim is currently touring behind his sixth.

Summertime definitely begs for more. The EP is a great teaser. Where the reference to Violent Femmes is a complete correct one, the danger this band showed through some of its songs, this is totally lacking with LS&TL. Good time music with a hint of the darker sides to life, but as Scolnick sings "Bad luck got in me, but I will survive". There is also a hint towards the UK's 60s heroes The Small Faces and to almost every US singer-songwriter with a guitar. Although LS&TL toured with The Lumineers recently, the comparison to this band is not correct, at least in these four songs. The music here is not new-folk. Too much drums and other things going on. Even if the line between the one and the other is thin at times, the way this band approaches its songs does not compare. For that LS&TL is too happy, too much alive as a band, more rock than folk.

In short Langhorne Slim and The Law has released a fun EP. And with a song like 'Summertime' in the can, it must be possible to draw extra attention to this record. A hit and summertime replacement if I ever heard one.

Wo.

You can download Summertime here.

The complaint choir of Helsinki

In the winter of 2007 I spent a midweek in the vicinity of Ghent and Brueges in Belgium. Part of the day in Ghent we spent in S.M.A.K., the museum of modern art. One room was filled with four screens on the four walls, loud speakers and leather seats. A video was playing with people in a pub making awful music or not even that, attempting to make music, but not coming even close. I was about to pack it in when the screen went black and another to the right of me lit up. "Complaint choir Helsinki" it read. I turned around on the seats and became mesmerised within a few seconds. A huge choir assembled in what looks like a neo-classical train station. A piano started this beautiful melody and the choir chimed in, singing its complaints in complex harmonies. Big world spanning ones, small private ones, ones to laugh out loud with. So much humour. There were two more choirs, from St. Petersburg and Hamburg, but one stood out, because of the music, the singing, the humour, the approach.

The complaint choir is a project by two Finnish artists, Tellervo Kalleinen and Oliver Kochta-Kalleinen, who let people complain in writing, but only allow the complaint if they are willing to come and sing it. And thus art was born. By now there appear to be complaint choirs all over the world. I just would like to share this one with you, as it is very special.

You can listen to the Helsinki Complaint Choir here.

Away from the bright lights. Garron Frith

You can listen to 'Rolling the dice' here.

Ditmaal aandacht voor een wat minder bekende muzikant in het rootssegment en iemand die heel wat in zijn mars heeft. Away From The Bright Lights van Garron Frith is een plaat die met een beetje geluk wordt binnengehaald als één van de smaakmakers van 2012. De Britse singer-songwriter, die in eigen land gelukkig steeds meer aandacht weet te trekken, doet dit met uiterst ingetogen maar bijzonder smaakvolle songs. Het zijn songs die je vrijwel onmiddellijk mee weten te sleuren naar een droomwereld waarin het tempo een flink stuk lager ligt en helemaal niets hoeft. Away From The Bright Lights is een ontspannende plaat met een tiental bloedmooie liedjes met voornamelijk invloeden uit de folk, blues, country en gospel. Het zijn zoals gezegd voornamelijk ingetogen luisterliedjes die worden gedragen door een akoestische gitaar en het mooie, emotievolle en soulvolle stemgeluid van Garron Frith. Ook aan de rest van de instrumentatie is veel aandacht besteed, wat smaakvolle accenten van onder andere strijkers, blazers, lap steel, mondharmonica en piano oplevert. De fraaie achtergrondzang en trefzeker voetgestamp vormen de kers op de taart. Away From The Bright Lights voelt aan als een plaat die je al heel lang kent, maar desondanks vallen iedere keer weer nieuwe dingen op. De muziek van Garron Frith doet op zich geen bijzondere dingen en is voor een belangrijk deel geworteld in de jaren 70, maar op één of andere manier spat de urgentie van deze plaat af. Samen met een stel gelouterde muzikanten en producer Simon J. Alpin (bekend van onder andere Willard Grant Conspiracy, Grand Drive en als soloartiest) heeft Garron Frith een plaat gemaakt die je vrijwel onmiddellijk dierbaar is, maar dan nog moet beginnen met groeien. Als ik Away From The Bright Lights met iets moet vergeleken kom ik waarschijnlijk bij Ray LaMontagne uit, maar hiermee doe ik het eigen geluid van Garron Frith te kort. Ook de vergelijking met Heartbreaker van Ryan Adams is met een beetje fantasie te maken, maar houdt evenmin lang stand. Laten we het er maar op houden dat Garron Frith met Away From The Bright Lights een plaat heeft gemaakt die niet alleen bol staat van de belofte, maar ook behoort tot het mooiste dat dit jaar in het genre is gemaakt. Ik heb de perfecte soundtrack voor donkere herfstdagen inmiddels gevonden, maar weet nu al zeker dat deze wonderschone plaat van Garron Frith veel en veel langer mee gaat.

Erwin Zijleman

You can order Away from the bright lights here.

Heart thief. Stephanie Fagan

You can listen to all songs of Heart thief here.

That's what I did after reading Erwin Zijleman's blog 'De krenten uit de pop' this week and decided to pull out the old credit card straight away. It's a rare thing when I'm truly touched by a voice, usually it's the music that is responsible for that. Stephanie Fagan's slightly raspy voice made rather an impression and as I also liked the songs I was hearing, the combination was a winning one.

Stephanie Fagan comes from the U.S.'s south. South Carolina to be precise. After playing a lot while travelling around she released her first album in 2009, 'Ideas for your ear bone'. In 2011 this album, her second, was released through an independent label. She now lives in Germany. So who gets her to the Q-Bus in Leiden?

Country and singer-songwriter are musical forms that do not have a lot of mysteries to Ms Fagan. Even when she goes deeper into country territory she manages to keep me on board, where others would have forced me to call it quits. The main difference is that she stays true to herself and is not looking for emotional effects of the dubious kind. She lets her voice sort of fade, instead of putting emotional power behind it. The effect is just right. This also goes for the way a lazy piano, mandolin or banjo drives several songs. It's a treat to listen to. No antics, just slow rhythms, with 'Beautiful man' shining out brightest. Everything is spiced up every once in a while by a clean sounding electric or a slide guitar. The accusing 'You are the devil' has both guitar and banjo. These changes between the lead instruments give songs a distinct individual flavour, that make Heart thief very attractive as a whole album.

The album goes wide with an almost jazzy 'Blow', a delightful slow song, with spacious piano notes, a muted trumpet and Stephanie's voice, all the way to the slide blues 'Prodigal', where she gets the right effect. 'Paris, Texas' with a female voice. Next to the already mentioned country song 'The diner song ', there's several easy listening songs, that are just plain good. And a roots rocker to boot, 'Boy who doesn't exist'. She gets away with all styles and songs, with not so much a confident voice, but a modestly exposed knowledge that gives each style exactly the voice it needs.

As I only have the digital version of the album, I can't say anything about who plays what, just that the production of Missy Davis Jones serves Stephanie Fagan in all the right places. Subtle accompaniments, a soft male voice behind her own. A rocking guitar to lively things up or spaces to let the music breathe and Stephanie Fagan shine. The sound is clean and bright, just like her voice in most songs. The long range of influences go all the way from Joni Mitchell and Carol King to Ry Cooder and James Taylor and there are even songs that could have been sung, in three voiced harmony, by Girlyman.

Looking at the pictures on her website there is a lot of Stephanie Fagan, but she also offers a lot on Heart thief. This album deserves to be heard by a lot of people. If you're interested in music that walks that thin line between, folk, country, singer songwriter, roots rock and blues and like a good female voice with a tough edge at times, Heart thief by Stephanie Fagan is an album you want to check out. For $10,- or €8,66 it's all yours if you go to her Bandcamp site. It's a bargain!

Wo.

You can order Heart thief here.

Jake Bugg. Jake Bugg

You can listen to 'Two fingers' here.

It took me a few listens to 'Lighting bolt' to get used to the song, but from that moment on I never looked back for one moment. What a great, delightful song, presented with spunk and wit, but above all self-confidence. Jake Bugg is only 18 years old, but seems to have delivered his first classic song already. The ease with which the song flows is remarkable, as few songs seem so fluent. Above all, 'Lighting bolt' seems to have cost no blood, sweat and tears to create what soever. Just like as if it has always been there. The song made me very curious to the album on which Jake Bugg presents himself to the world at large.

Born Jacob Edwin Kennedy (Nottingham, 1994) Jake Bugg must have listened a lot to the likes of Bob Dylan when he was, well, younger. His way of singing has something of the early Dylan, when he softens his voice its Donovan, who started out as a Dylan adept in 1965. Bugg didn't stop there, as there are definite pop elements in his music. 'Two fingers' is the sort of song Noel Gallagher must have wished in his dreams to have written and killed in layers of guitar. If something becomes clear, it is that Jake Bugg likes an open sound. A rhythm guitar, lead guitar, bass and drums. Rimshots are fine for parts of the songs.

It slowly dawns on me that Jake Bugg, the album, is starting to have the same impact on me as 'Whatever people say I am, that's what I'm not'. Not that all songs on Arctic Monkeys' first album were fantastic, but as a whole the album rocked my musical world, like only few other albums have through the years. The urgency in Jake Bugg's songs is the same as on 'Whatever ...'. The colouring is different, as Jake is more rock and roll and folk oriented that Alex Turner c.s. 'Simple as this' emulates early Dylan with an Everly Brothers melody and harmonies. Again it seems as simple as this, while also this song aspires for perfection if it is not just that.

The album has gone to the number one spot in the UK which is totally surprising, as the album has nothing to do with 2012. Who buy records these days? Right 40+ year olds, so that is satisfactorily explained. as far as I am concerned the position is well deserved. Jake Bugg will go into history as one of the great début albums ever. The singer even gets away with 'Broken' which could have been sung by Nana Mouskouri in her days. It leaves me listening silently all the way to the climax. The bit raucous 'Trouble town' does a 1966 Dylan and 'Sunshine Superman' in one and in great form too. 'Note to self' seems to prove that someone like Tim Hardin is no stranger to this young singer also.

The variation on the album is magnificent and Jake Bugg gets away with everything. He has something to say and drives it up right to our door step. There are some issues to deal with listening to some of the lyrics. If anything, Jake Bugg seems to deal with them in quite a grown-up way. Contemplative beyond his years. Looking at the video, a shaving kit is not a tool used often, but he knows how to write lyrics (and songs).

'Ballad of Mr. Jones' is a psychedelic outing, like Traffic were masters at, e.g. 40.000 Headmen', next to the obvious tip of the hat to the master himself. The sound of the album is crystal clear, putting Jake Bugg's voice right in front. No choir would ever admit him, like most rock singers aren't, but his voice is very authentic.

As a last comment. The photo's I've seen so far all show a young man trying to look like Keith Richards in 1964, stands in a street like Bob Dylan in 1963 and smoking, smoking, smoking. Something so uncool in 2012 that it becomes cool again. The setting is clear and we "oldies" have someone new to listen to. Let's hope for Jack's sake that 50 something's and older are not the only faces he has to stare at when playing live. He can expect me anytime soon, though.

If this is what Jake Bugg can come up with at 18, what can he do at 25, at 35, 40? There will be one major difference with most of his heroes. They were able to grow musically fast and make one or two albums each year during the first 10 years of their careers. Jake may have to wait for three years before there's a follow up to Jake Bugg. Killing for the career of young artists, I say. So, Jake, do we get to see your next effort in 2013? I honestly hope so.

Wo.

You can order Jake Bugg here


or here

Interview with David Sickmen of The Hackensaw Boys

Interview for WoNo Magazine and WoNoBloG by Wout de Natris

Copyright WoNo Magazine 2012

You can listen to 'O girl' here

It's about eight years ago that I met David Sickmen. The Hackensaw Boys played the Q-Bus in Leiden. Afterwards he was selling cds and we had a very small talk afterwards. My then 11 year old son liked that album, 'Keep it simple', so much that he wanted to come the next time the band played and collect autographs in his specially kept Pokemon exercise book. So he went into the dressing room before the show and just did not come back. After a while I decided to knock on the door and stepped in. There he was with David, playing David's guitar and getting a lesson of 'Blackbird'. Perhaps this was the little extra push that he needed to become a guitar player. Not much later David left the band. Through the guitar lesson we had got to know more band members over the years. My son sitting in the dressing room in Haarlem with Jesse showing video clips of favourite songs on a lap top to each other, is another picture that comes to mind.

And now the band comes back for a tour and all "my" original members of the band have left, with one exception: David Sickmen rejoined the band. Time for an interview and prepare him to play 'Blackbird' with an 18 year old.

You are back on the “nest” after circa six years. What did you do in the meantime and what made you decide to re-join the band?

I am pleased to tell you that I got married and had two sons since I saw you last. I live in a an old factory town called Lynchburg, Virginia. I rejoined the band after talking with the band about its future. Rob and Jesse were stepping out and I volunteered to step back in.

How did the band start?

The best answer here is on our wiki page which we just updated.

If we look at the (prior) history of the band members, we see that they go back in to local music scene of Virginia a long way. Let’s quote the history part of the Wikipedia entry on The Hackensaw Boys:

"The Hackensaw Boys were founded in the Fall of 1999[7] by Rob Bullington, Tom Peloso, David Sickmen, and Robert "Bobby" St. Ours who were all living in Charlottesville, Virginia at the time. Prior to forming Hackensaws, Sickmen and Bullington met in Harrisonburg, Virginia in the early 1990s. At the time, Bullington was playing in a band called Fried Moose. Bobby St. Ours, along with brothers Phillip and Johnny, played in the Harrisonburg-based Route 11 Boys with Ketch Secor and Chris "Critter" Fuqua. Peloso formed a band with some friends in the same decade called Chigger, in which he played the doghouse bass and was the lead singer. Sickmen played in a band called Pieboy with future Hackensaw Boy, Ward Harrison. Fuqua and Secor would go on to found Old Crow Medicine Show in 1998. All had performed as young musicians on the open mic stage at the Little Grill diner in Harrisonburg, as well. The Little Grill stage was also graced by future Hackensaw Boys, Ferd Moyse (no relation to Fried Moose), and Shawn Galbraith in 2004. At that time, the two were performing and touring with old-time string band outfit, The Blooms, from Black Mountain, NC, along with Jeremy Odom (guitar, vocals) and Emily Moberg (fiddle, bass).

The Hackensaw Boys formed in August of 1999, when Sickmen, Bullington, Peloso, and St. Ours met at Miller's restaurant in Charlottesville to watch Fuqua perform with the recently formed OCMS. Sickmen and Peloso had previously been talking about other possible music projects. The four decided at that time to form a new group that would become known as The Hackensaw Boys. They would develop their sound busking on the streets of Virginia."

The story continues with the old bus the band bought to cross the US of A. Read on here.

The Hackensaw Boys play traditional music. The way it is played though hints at other influences. Did the band members find each other because of this music or more in the way the band played it?

We decided to start a band and concentrate our songwriting in the old time Appalachian country folk vein. It was just the kind of songs we were drawn to. We just wrote and I hope are still writing songs from our hearts. 

Looking over the years I conclude that the band is bigger than its members. Was it set up from the outset more as a collective of changing musicians than as a band in a traditional sense?

The band is bigger than any individual who is in it at any given time. There never was any plan as far as members go. We started as four guys and by our first tour we had 12 guys in the band. Over time people came and went and presently we are 6.

The Hackensaw Boys is a band that I’ve met on a regular basis. With hindsight I can pinpoint moments in conversations with members, including you at the Paradiso years back, that I can say, that’s when someone had to choose between making music and another career. How hard is it to be a Hackensaw Boy?

Well, I wouldn't say it's hard. Being in any band has difficult moments. Not enough sleep, being far from home, often not enough money to continue, and then, the creative part of being in an band. A shared vision can be hard to come by! Not to mention people's general sensitivities and how they go about relating to others around them. I can say honestly for myself it's only the being separated from family that weighs my mind down and was the reason I left the band in 2005. 

When someone left the band, was there already a replacement in mind? Or does this go about in a different way? 

No we never have someone in mind. Generally someone goes and we try and bring a friend from within our collective musical circles into the fray!

To go back to the music. Your songs usually seem more personal or personal observations. How important is your daily life for your song writing?

Most of my songs are culled from everyday life and the things around me. Maybe, I see something on the roadside and it sparks a creative match for me, like the song Alabama shamrock. Sometimes it's a word or phrase passing along in a conversation I am having. I firmly believe that art surrounds us all day, every day. It just taking the time to reel the words and tunes in and build them a home to share. 

Btw what instrument(s) will you be playing as neither Rob nor Jesse are there as I understand?

I will be playing guitar and maybe some mandolin.

Looking forward to shake hands in Leiden and listen to some great music.

I too am looking forward to seeing you and yours. Let's have some fun!

There's more on The Hackensaw Boys on WoNoBloG. An interview with Ward Harrison here and a review of 'The old sound of music, vol. 1 and 2' here.

Tour dates can be found here, as well as information on how to purchase the last two EPs of the band.

Teacher Deely. An interview with Chuck Deely

An interview for WoNo Magazine and WoNoBloG by Wino Penris

Copyright WoNoMagazine 2012

Listen to Chuck Deely here.

On my way from the train to the WoNo Headquarters, every morning I meet Chuck. The most famous street musician of The Hague

In the beginning his being there every day, troubled me a little bit. I instantly realized he wasn’t there just for fun and that he really needed the money. I did not know how to deal with this. I had always thought the Netherlands was a country that took care of people and there he was, proving me wrong. Day in and day out. But that was not the only thing troubling me. I couldn’t say what it was. Yet. Although Chuck is a really good musician and his music is worth every penny, I did not manage to give him anything. It just didn’t happen. In my head I was thinking and thinking to find the right excuses, but I couldn’t find any convincing ones. This troubled me even more.

One day I shared my feelings with a very wise colleague at the office. She was silent for a while and then she said: “maybe he is there to teach you something. Maybe you should try and find out what it is?” That was it. No more and no less.

From that moment on, without knowing it, Chuck became my teacher. What would happen if I gave him some money? I tried it one day and what do you think? He didn’t react at all! He showed no gratitude, whatsoever! I had not expected this. I got irritated! Now I finally found the guts to give the guy some money and now he’s not even grateful for it! Where is the world coming to? But then I realized that getting his gratitude was probably not the right intention for giving. I started investigating this and gradually I found out that what worked for me was to give the money unconditionally. Then I found out that, every time I gave him some money, the aspects of myself I had kept in the dark all these years, came into the light. The hidden sides of myself Chuck had triggered from the beginning. And now, the more money I gave to Chuck, he cheerier I became.

Then came the day I dared to ask him how he was doing. Well, he wasn’t doing fine at all at that time, to say the least. And he was prepared to share this with me. All of it!

So! There I had it! And now what? I could not solve all his problems! I could not change his situation! I could not change Holland or the world! I could not give him enough money to live from! And now he wanted me to help him! My God, what had I started? But then I saw that Chuck was very relieved after this conversation. So this was all it took!

Since that time we meet every day. Sometimes I walk past him without a word. Often I give him some money and sometimes we talk. He shares some of his ups and downs or we discuss the weather or politics. For no more than a few minutes, because the money has to keep coming in.

And then came the day I dared to ask him for an interview. A short one, just to be safe…

.No

Short interview with Chuck Deely

May 29, 2012

Hi Chuck, where are we now?

We’re just in front of Central Station in The Hague.

What do you do here?

Yeah, well I play here every morning since twelve years now, maybe fifteen years. This is how I pay my rent, eat and support myself. This is my job. Playing the guitar and singing on the streets.

Could you tell me a little bit about your life and how you got to be here every day?

Well, I’m from Detroit, Michigan. When I was seventeen or eighteen, I went travelling. I went across America a few times. In 1973 I got drafted into the army and instead of going to Vietnam, I got to go to Germany by good luck. I got married and I stayed there when I got out of the army. And then, I just stayed in Europe. I was in Germany for ten years, in Spain for ten years and now I’m here for, come to think of it,  close to 20 years. And yeah, I’ve always played music for my living. That’s what I do. I’ve played in bands for a long time and now since the last years I play alone on the streets because that way I can make the income that I need to make. And, yeah. That’s how I came to be here.

You’re very famous in The Hague. Aren’t you the most famous street musician of Holland?

Possibly, I don’t know. But no, there is somebody that’s much more famous. That’s Sea Sick Steve, right? But yeah, I was on radio and television many times, I played with the Residential Orchestra a couple of times, I make cds: I’ve made almost 20 cds now.

About the cds, do you write your own songs?

Yes I do! I write songs every day. I’m a songwriter more than anything. By the way, apart from the guitar, I play other instruments as well: I play piano, I play drums, I play the bass. At home I have a small studio, where I record all my own stuff now. I’ve been working on that for the last three, four years. I’ve been learning how to use a computer and to record music. Now It’s finally got to the stage where it’s starting to bear some fruit.

And how do you write your songs? Do you write them improvising while you’re here or…

... sometimes, yeah. I write them everywhere I can. Sometimes I have an idea and then I run home and judd it down, sometimes I have a pen and paper with me and I stop and do it there and sometimes when I’m here I can post things on the spot, using improvisation. It depends, you know.

Who are your musical idols?

Foto W. Penris

Ehm, that’s kind of difficult. I always liked Neil Young a lot, Frank Zappa…. Most of them are dead, it seems, ha-ha... Van Halen…Jimi Hendrix…God, I could name a hundred of them, so it’s kind of difficult. I don’t have any particular style or gender that I really like. I like Rock better than anything, but beyond that I like classical, I like jazz, I like everything, you know. Especially when it’s live. I like live music. It doesn’t matter what it is. They don’t have to be famous either, they can still be great! So…Yeah…I really don’t know!

What is your message to the world?

My message to the world? Well. Chill out and slow down a little bit! Take it easy! Don’t push ourselves into more crises, wars and all that stuff! Things will take care of themselves! More or less… I think.

And what would you like to say to the people walking up and down here every day, walking past you?

I would like to say: “Please help me out every morning, because I really need it, it’s my only income. Apart from that, enjoy the music! And thank you very much for the great bonus I got the week before last week, with the Residential Orchestra. It was really fantastic, what everybody did. It took care of a whole month of problems for me. Great!

Thank you very much.

Thank you! Bye.

.No

You can buy Chuck Deely's music on weekday mornings opposite The Hague Central Station, in the afternoon in The Hague's Grote Marktstraat, weekend evenings, same address from him personally,