Blogcritics

Music Review: Band of the Week - The Dollyrots

A.L. Harper — Sat, 12 Apr 2008 14:17:08 EDT

The Dead Kennedys love child with Gwen Stefani, nannied by The Go-Go's, playing tag with The B-52's.
Punk-pop band The Dollyrots sophomore album Because I'm Awesome is precisely what pop-punk should be; fun, honest, in your face, and accessible. Poppy without compromising punk. Their sound is a mix of bouncy melodies and harmonies, with all the ass kicking power and attitude of punk music. The Dead Kennedys love child with Gwen Stefani,...

Korn Artist of the Month on Music Choice

A.L. Harper — Wed, 10 Oct 2007 17:11:20 EDT

Music Choice has dubbed October "Rocktober" and chosen none other than nu-metal heavyweights Korn, as its Artist of the Month.
October at Music Choice (MC) has been dubbed Rocktober and in a month long celebration dedicated to hard rock, Music Choice will be featuring artists like Paramore, Plain White T’s, Killswitch Engage and The Clash. Who better for MC to choose then, as their Artist of the Month (AOM) than those kings of nu-metal Korn. Korn formed in 1993...

Announcement: Short-content feeds

Phillip Winn — Sun, 26 Aug 2007 12:00:00 EDT

Sunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. Two other factors are involved: full-content feeds have resulted in an unprecedented level of content theft, with BC content appearing on many websites, usually spam sites, without attribution or permission. This duplicate content causes a cascading set of problems, not the least of which is that search engines generally aren't favorable to duplicate content, and don't always guess correctly. Finally, our RSS advertising partner is strongly in favor of short-content feeds. We hope that you'll continue to subscribe to BC via RSS, and when an article grabs your eye, it's only a click away, still free on the BC website. Thank you for your understanding.

Music Review: Pachora - Astereotypical

Mark Saleski — Thu, 29 Mar 2007 08:42:51 EDT

Bet on this: you just can't go wrong with drummer Jim Black and bassist Skuli Sverrisson. Together they form a muscular and infinitely malleable rhythm section. Add to that the clarinet of Chris Speed and the guitar of Blogcritics' featured artist Brad Shepik and you've got... well, I'm not sure.Pachora is often described as being influenced by the musics of Eastern Europe and the Middle East. True, but it's more than that. This is a group that takes that folk material and filters it through the more modern sounds of the New York "downtown" scene: together, the members of Pachora have played with the Dave Douglas Tiny Bell Trio, Tim Berne's Bloodcount, Ellery Eskelin, Dave Douglas, Anthony Braxton, and many others. It's a very, very deep well to draw from.The melding of these influences is displayed in many different ways. The opening "Romanics" seems somewhat traditional with its percussion and sprightly acoustic bassline, but then Chris Speed's clarinet drops in steeply descending chromatic figures that are mirrored by Sverrisson. Things quickly switch back to traditional as the main theme is stated in unison. This approach is not unlike that taken by John Zorn's Masada, with one foot in the "old" (Klezmer) and one in the "new" (Ornette!)."Bushka Lounge" starts off sounding like an old world meets new James Bond score bite. A tense staccato bassline is abetted by clinky percussion and ringing artificial harmonics. Shepik then switches to the electric saz, laying out swirly angular lines over which Speed plays a repeated figure. Modern jumps back a step as the song's theme takes over. It's almost a musical slight of hand, as these transitions seem completely natural and make perfect sense.The rest of Astereotypical offer similar juxtapositions, some soft ("Klink"), some harsh ("Little Theatre" and especially: "Push"), and some just plain beautiful: Sverrisson's "Drifting" and the closing traditional arrangement of "Mexahata." Experienced in total, the music of Pachora really does defy categorization. That's a good thing. It's also a fine example of how much this music we call "jazz" can be stretched.

Mark Saleski is a writer and music obsessive based out of the Monadnock region of New Hampshire. On his best day, he hopes to channel the ghosts of Lester Bangs and Jack Kerouac. He spends the hours of 9:32PM to 1:37AM carving out music reviews and essays for Jazz.com, Blogcritics.org and other publications.

Music Review: Tiny Bell Trio - Live in Europe

Mark Saleski — Thu, 15 Mar 2007 10:34:44 EDT

One of the characteristics shared by most of my favorite jazz musicians is versatility. They have "big ears" in their musical interests as well as in their playing environments. If you look at the list of guitarist Brad Shepik's recording credits, you'll see everything from nearly straight ahead jazz to music heavily influenced by Middle Eastern and European folk music.And then there's the Tiny Bell Trio. Led by trumpeter Dave Douglas, the trio's combination of horn, guitar, and drums (the phenomenal Jim Black) made for some unique and open music. By 'open' I'm referring to the large amount of space in the music. While the "idea density" is quite high, each player seems to know when to lay back, allowing for a maximum of subtle interplay.Live in Europe finds Shepik and his bandmates taking up a varied set of musical roles. Necessitated by the decidedly non-traditional lineup, lead and support roles are shared and swapped as each each composition's improvisation moves forward. The opening track "Around The Bend" is a perfect example of what this great trio was capable of. At first, Douglas and Shepik play in unison as Black sketches out a rhythmic framework. A few minutes later, Shepik drops out as Douglas solos while Black, in all of his amazing resourcefulness, provides both rhythmic and harmonic accompaniment. As Blacks cranks up the idea machine, Douglas plays with increased enthusiasm, even tossing in a bit of Sonny Rollins' "St. Thomas." Shepik comes back in for a bit and then Douglas take a break as Shepik takes a winding turn with Black. Chord solos are mixed in with twisting single lines as Black spills out more ideas than a rational person might think is possible. The trio riffs together for a bit before Black takes his own solo, sounding like nothing you've ever heard before. The entire group reprises the original theme before ending on one long trumpet note. It's inventive and exhilarating stuff.To get an idea of the breadth of this trio's interest's, it's instructive to look at what they chose to cover at this concert. First is "Langsam," a transcription of part of a Schumann piece originally written for cello and piano. It's romantic, harmonically rich (especially the way Douglas and Shepik intertwine their lines), and just gorgeous. Serious, yes? So skip to the end of the night and revel in "Czardas". A traditional Hungarian folk tune is run through with humor and affection. Beginning at Zorn-like speed, the Tiny Bell Trio steps back and examines the themes piecemeal to see what improvisational nuggets can be discovered. Listening to what Shepik does with these lines, it's fairly obvious that he's equally at home in the worlds of both jazz and traditional musics."Big ears" might have become a jazz stereotype, but if you give a listen to this concert, you'll see that there's a lot of meaning behind that idea. Jim Black, Dave Douglas and Brad Shepik give new meaning to the word 'versatility.'

Interview: BC Magazine's Featured Artist Brad Shepik

Pico — Mon, 12 Mar 2007 08:41:03 EDT

Jazz guitarist, bandleader, and composer Brad Shepik is BC Magazine's March Featured Artist, as we spotlight jazz music throughout the month. Shepik is fine choice for this month's spotlight because he is one of those guys out there pushing the genre forward with his harmonically complex but grounded guitar style and a creative restlessness that has motivated him to absorb into his music elements of rock, free improv, reggae, 20th century classical, as well as traditional music of nearly every stripe. Shepik's brand-new release Places You Go finds him leading an organ trio that goes well beyond the traditional approach of such a format. Read Mark Saleski's spot on review of the CD and then treat yourself to its rich musicality and intelligent grooves. Recently, I had an opportunity to converse with Brad Shepik in between gigs in Europe.What were some of your earliest influences when you first started playing guitar?My father, my uncle, and my great uncle were all strummers and singers and I think that’s what attracted me at around 10 years old. My neighbor and I got electric guitars soon after that and started a garage band. I also started playing alto sax in the school band and continued with that. I had a band that played R&B and jazz tunes as well as rock. In high school I switched to guitar because there wasn’t room in the jazz band for another alto player. How did you first become interested in and involved with the New York avant garde jazz scene?Recordings. I was probably 12 or 13 when I started spending a lot of time at the library checking out records. Anyone I read about in Downbeat (magazine) I would try to find their records. I got a paper route and started spending the money at Rubato Records, which had used vinyl. The more I heard, I slowly began to realize that I wanted to pursue music seriously. New York was where all those players lived at one time or another so that became destination for me. If I didn’t make a living there doing music, at least I would learn something and improve as a musician.What has sparked your interest in combining jazz with such disparate elements such as East European, African, and Middle Eastern music?They all share a common thread of being folk musics that have an oral tradition. I like those styles of music and listen to them so they end up seeping in to some of my compositions unconsciously.On many of the ethnic jazz recordings you are playing an electric saz, an unusual instrument for American audiences. Can you describe the instrument and its origin?Saz is a Turkish long necked lute with three double courses of strings. It also has quarter tone frets. And I see you haven't stopped there. Tell me about some of the other instruments you've picked up over the years.I mainly see myself as a jazz guitar player that likes a lot of different kinds of music. That’s led me to experiment with other instruments like oud, cumbus, tambura, banjo, and saz but I feel able to express more on the guitar. Sometimes I like to try and evoke the feeling of those instruments with the guitar. The Bulgarian tambura has four double unison courses, I play that instrument primarily with Pachora and sometimes with Paradox Trio. What are some of the non-jazz artists on the scene today whom you enjoy listening to? Gillian Welch, James Brown, Shostakovich, Elliot Smith, The Beatles, Ravi Shankar, Willie Nelson You and a number of other jazz artists from the NYC downtown scene emigrated over to Seattle back when it was gaining fame as the birthplace of grunge. What was it about its music scene that attracted musicians like you?Actually I grew up outside of Seattle, went to public school, benefited from the music program that existed from Grade 5-12 and from the teachers that taught me. Then went to NY in 1990 and still live here in Brooklyn with my family. Tell me about other bands aside, from the Commuters, you're currently affiliated with.I have been performing with my trio primarily since 2001. Other performing activities include Joey Baron’s Killer Joey, Pachora, Paradox Trio, Simon Shaheen’s Quantara, Bob Brookmeyer Quartet, Dominique Eade, Alexis Cuadrado Group, Arthur Kell Quartet, George Schuller’s Circle Wide. You've worked with a lot of outstanding musicians including Dave Douglas, Joey Baron and Paul Motion. How do their styles as a leader differ from each other and what have you learned from working with these greats?I have worked with and learned many things about playing, writing, recording. and everything else to do with having a life in music. Generally, I feel like I am constantly learning from everyone I play with. I think of the leaders I’ve been fortunate to have worked with so far, Joey Baron has maybe had the biggest influence in the way he plays, organizes his music and leads a band. His music seems to invite a conversation among the players and that has become a goal in this kind of music. I aim for that with my trio. I also have a huge amount of respect for Simon Shaheen and his dedication to his art and instrument. He has to be one of the most grounded musicians I’ve worked with.For Places You Go, you took a different approach from your prior releases in that you did away with the bass and replaced it with an organ. But this guitar-organ unit isn't exactly playing the soul-jazz as one might expect from this setup. It sounds much more challenging and yet just as listenable and relaxing at the same time. It reminds me a lot like John Abercrombie's organ trio records of the nineties. What inspired you to go in this direction?“Night” by John Abercrombie was a favorite record for quite awhile though I haven’t heard it in many years. The inspiration for this group is the musicians involved.What makes Gary Versace (organ) and Tom Rainey (drums) such a nice fit for this current project?I’ve known Tom for many years and heard him play with Kenny Werner, Fred Hersch, New and Used, Tim Berne, Ben Monder. I’ve also worked with him in different situations including “Polyogue” a record by Andy Laster. His approach to the drums, his sound and playing music with others is something I find unique. Gary Versace is inspiring to me as well, he has his own approach to the organ and the piano that expresses some profound things to me. Also he’s a very exciting player in the way he develops ideas, the way he hears and uses his vast technique on the keyboard.Your musical career seems to be one where you're not afraid to experiment with different styles of jazz and trying out new things. What can we expect from you next?I’m thinking about augmenting the trio with a horn and bassist and trying something a bit more ambitious compositionally, a larger work in the form of a suite.

Musical musings by da' S~L~O~B (Saintsfan Lovers of the Blues), a trio from Louisiana, Alabama and a trailer park somewhere in Texas. But it ain't all about blues (even though we are, alas, Saints fans). We mix in jazz, pop and baby-boomer rock, too.

Music Review: Brad Shepik Trio - Places You Go

Mark Saleski — Thu, 1 Mar 2007 08:17:19 EST

Many years ago, I had the pleasure of working with a guy who was just as much into music as I was. This of course didn't always make for productive use of time as we'd spend hours and hours yakking about this, that, or the other group. One of the books he loaned me (and for some reason, I've never purchased) was Pete Frame's Complete Rock Family Trees. Dear me, what a resource for discovery. Want to know all of the permutations of Fleetwood Mac and related bands both before and after the Peter Green era? With the data laid out visually, it can be quite amazing to navigate along the tendrils of even moderately famous groups.That cross-pollination of musicians in the rock world brings to mind the parallel phenomenon in the New York City "downtown" jazz scene. There are quite a large number of recordings in my collection related to musicians such as Paul Motian, John Zorn, Dave Douglas, Bill Frisell, and Joey Baron.Right in the middle of those interlocked downtown jazz branches is guitarist Brad Shepik. Having played with the likes of the Dave Douglas Tiny Bell Trio and Paul Motian's Electric Bebop Band, as well as groups like Babkas and Pachora, it's obvious that Shepik has a wide-ranging musical history to draw from. From slightly twisted takes on standards to avant modernizations of Middle Eastern and Eastern European musics, Shepik has not followed the usual path of a jazz guitarist.But what of the Brad Shepik Trio? Does a 'traditional' guitar/organ/drums lineup make for traditional music? No, along with Tom Rainey on drums and Gary Versace on organ, Shepik and his clean-toned guitar take familiar instrumentation "out" in much the same way as his past involvements.While listeners searching for music from the organ trio's past will not be disappointed — particularly on the bluesy "Five and Dime" and the pensive balladry of "Return" — the more adventurous will be be rewarded with a fine blend of idea and execution. "Air" starts off with a series of cyclical arpeggios that are used as raw material for some great group interplay. The elongated melody that opens "Batur" morphs into an ostinato over which increasingly passionate improvisations are build. "Frozen" has Shepik switching between fast chord melodies, unison runs with Versace and some good 'ole blowing over changes. Some of this record's charm lies in the subtle way improvisations are constructed. "Crossing" begins with Shepik and Versace playing together, but then slowly moving apart before turns are taken in both soloing and comping roles. As the intensity increases, Tom Rainey's sensitive drum work manages to push the others forward while leaving just enough space.Places You Go comes to a close with the wide open and burning "Tides." First a soundscape and then a vehicle for traded choruses, Shepik's group shows that it's got both muscle and finesse. If you listen closely, there's a lot of Shepik's musical history in there. And if you're smart, it's the kind of history you might want to investigate.

The Art of a Hal Ketchum Song

Connie Phillips — Wed, 21 Feb 2007 20:07:22 EST

The one thing that sets the songwriting of this month's featured artist, Hal Ketchum, apart from some of his Nashville counterparts is depth and detail. Not content to express his art solely in his music, Ketchum is also known for his painting, sculpting and carpentry work, including a previous career as a cabinet maker. In this final article of our featured artist coverage we'll examine some of those spun yarns and the art behind a Hal Ketchum song.A percentage of the songs that grace the nine albums he's released are in and of themselves intricate tales of love, life, and loss. The lyric seem to be done in the style of an old folk-classic but they are set to something more contemporary, even though they are very pure and unadulterated in sound. What isn't a spun-yarn is often a just as heartfelt show of love - a romantic ballad. In between the two are the up-tempo and fun tracks that round out an album. What they all have in common is the obvious care that went into crafting them.On his newest release, One More Midnight, he abandons every rule of marketable music with "Poor Lila's Ghost." Twenty-six verses take the listener on a nearly fifteen minute journey of a man running from the law, his haunting memories, and himself. Though it has the sound and texture of a classic folk-blues song, there really isn't anything typical about the poetic structure and the extended format. While the list of classic-rock extended anthems may be extensive, this is really the first time I've seen this sort of animal in this genre, but the result is breathtaking. It's hard to classify this track as song, though it is a beautifully eerie one. Soft almost-spoken lyrics begin to a bare-bones and acoustic accompaniment before everything opens up to something fuller and richer. It's an art to draw a listener in and keep them on a chair's edge wondering what's around the corner and what piece of the puzzle and story the next verse will bring, and that's exactly the experience you're in for when you listen to "Poor Lila's Ghost."In that same folk vein is "Daddy's Oldsmobile" from the Sure Love album. When this songs starts, with its light and airy acoustic guitar accompaniment, you think you're in for a countrified version of a classic car song. "My daddy bought this car before I was born/sure liked the radio, I loved the horn" but it quickly turns to something completely different when you learn the car has become a home for the down-and-out family.Even though lyrically the tone changes drastically, the music stays light and warm, and in the end the message of 'love conquers all' is expressed by that warm sound. The journey is a lot shorter than "Poor Lila's Ghost" and is more traditional in form, but the experience is as enjoyable. "That's What I Get For Losing You" from Every Little Word may not be the same deep narrative, but it does show another side to Hal Ketchum that he expresses in song – his romantic side. This one, however, has that fun upbeat tempo and is really a beautiful blend of two styles. The song is about someone cursing themselves for letting a woman slip through his fingers but it's rhythmic and fun, with a percussion focus, and has some very interesting instrumentation.In true romantic ballad form is "Every Little Word" from the album of the same name. In this song he has no problem wearing his heart on the sleeve and letting the listener in on the tender side. The song is an outpouring declaration that "It's more than just I love you/It's every little word" he hangs on.But, my favorite Hal Ketchum song? It changes as frequently as the weather and my mood, but I consistently find myself going back to the romantic, yet heart-whenching 'realization of love lost' song of "You Loving Me." It takes a real art, to display longing and need in way that is still soft and sweet, and Ketchum achieves it. It's a blend of a deep love and the realization the other person has let go, and the lyrics and their accompaniment are so fine tuned and blended to convey that emotion.As hard as it maybe to put my finger on a favorite song, it really isn't that hard to identify what it is about his catalogue that appeals to me. Aside from how accomplished he is with the guitar accompaniments, it is the thread of humanity, be it love, loss, or just a slice of someone's life that he has sculpted into song. Below I've included the video to "Hang in There Superman" from you-tube so you can get view a bit of his past. Hal Ketchum's current album, One More Midnight is now available in the U.K. and is slated for U.S. release on Curb records in March or April.

Wife, mother, aspiring novelist, and music editor at BC Magazine, Connie Phillips spends most of her time in a fantasy land of her own creating. In reality, she writes about music, television, and the process of writing, when she's not cheering on her kids at equestrian events. Contact: Phillips.connie@gmail.com

Music Review: Hal Ketchum - One More Midnight

Connie Phillips — Thu, 15 Feb 2007 16:00:06 EST

Aside from being the title song from his soon-to-be-released album, "One More Midnight" could be a testament to the last fifteen plus years of Hal Ketchum's career. It pays tribute to life on the road, something he is no stranger to as he launches a five week U.K. tour this month to be followed by an extensive tour of the states. One More Midnight, the latest album from featured artist Hal Ketchum, had its U.K. release on February 12 and will be hitting U.S. shelves in March or April. This, his ninth release, stays pretty true to the heart and soul of Hal Ketchum – songs that are crafted and woven, many of them intricate stories. Set to a traditional country sound, the lyrics themselves often lean more toward the folk genre as we often get rich and meticulous details of a character's life composed in three and a half minute songs. Of course there is always an exception to the standard rules, and on One More Midnight that is "Poor Lila's Ghost." The stand-out track of the album, it chimes it at nearly fifteen minutes and twenty-six verses long.In a recent interview I asked Ketchum about playing the song live and how audiences are receiving it. He responded, "It was interesting to play that live. The response was really good and I was really happy with it. People were willing to sit and listen to it… I just thought it was worth it. It was worth recording. It's such a journey; I really wanted it to make the record." And a journey is exactly what the song is. Those twenty-six verses follow a man as he tries to shed the memory of Lila and are backed with acoustic guitar and banjo with the occasional appropriately placed cry of a fiddle and hauntingly spoken words by Tony Joe White. While it's appropriately placed as a centerpiece, in the dead middle of the album, a Hal Ketchum album wouldn't be complete without a couple of sweet love songs and a handful of lighthearted and up-tempo tracks."Forever Mine" is one of those tender love songs. According to the album's press release, Ketchum overheard his wife telling a friend on the phone, "He reminds me of things I never knew I wanted,” which he molded into the more universal "You remind me of things I never knew I wanted." He built the loving tribute from that and Mrs. Ketchum (Gina) earned herself a songwriting credit. The song is a soft and warm heartfelt declaration and a poetic tribute to a deep love. In a similar vein is "The Moment," another beautiful song full of sentimentality. The recent single, "Just This Side of Heaven," is also focused on romance. This one, with a feel-good tempo, has a message that compares the love between a man and woman to a religious experience. He also dabbles with some blues-influenced numbers with "Travelin' Teardrop Blues" and "Little Red Dress," which I gave its own review in The Listening Room.Whether it be the romantic love ballads, the blues-infused tracks, or the folk-inspired epic journeys, One More Midnight is at its heart a collection of Hal Ketchum's finely woven stories that are slices of life whether it be the romantic side or life on the road. From the title track: "One more sunset/ One more sweet dream/ Rocking to the rhythm of the road/ I've got one more midnight to go." Though, I do believe it will be many more midnights before we see Ketchum put life on the road and music behind him.

Interview: BC Magazine's Featured Artist - Hal Ketchum

Connie Phillips — Thu, 8 Feb 2007 19:34:56 EST

Hal Ketchum may be one of the most well known and admired songwriters in country music circles, but his creativity runs even deeper than song. In the years before his music career took off, he worked as a cabinet maker and continues to express himself not only in carpentry, but sculpting and painting as well. His art work is shown at the Pena Gallery in Santa Fe, New Mexico.His first album with the Curb label, Past the Point of Rescue was released back in 1991 (though he technically released Threadbare Alibi first in 1989 on the Watermelon label under the name Hal Michael Ketchum) and he continues with them today. Nine albums and twenty-two singles later, he shows no signs of slowing down.With his new album, One More Midnight getting its U.K. release February 12 (with U.S. release to follow in March or April), he has been playing concert dates these last few weeks as he kicks off a U.K. tour, which will be followed by a more extensive tour of the U.S. Hal took some time from his busy schedule for a phone interview where we discussed the new album, how he prepares (or doesn't) for the road, and his creative soul. You were under the weather last week. Are you feeling better?Yeah, yeah, I had a little dental work done. That's always a deal, you know. I'm trying to get things done while I'm home, and I'm only home for like two days at a time. So, you know, I just got to keep moving. You've just launched this tour. Are you playing songs from One More Midnight yet?I am. I'm doing "One More Midnight;" I'm doing "Little Red Dress;" I'm doing "Poor Lila's Ghost." I'm also doing "My Love Will Not Change," "Travelin' Teardrops" and "Gonna Start Livin' Again."Wow, so you're playing most of the new one then?Yeah, I'm doing most of the new record. We played some really great folk rooms up in Massachusetts last weekend and I tried out "Poor Lila's Ghost," which is like fifteen minutes long and twenty six verses. It was interesting to play that live. The response was really good and I was really happy with it. People were willing to sit and listen to it.I planned to ask about "Poor Lila's Ghost." It's quite an epic story and song. Did you have any concerns at all about it being such a non-traditional length?I just thought it was worth it. It was worth recording. It's such a journey; I really wanted it to make the record. The beauty of doing a European record is they are very open to… song length is not an issue. I knew from my previous work in the U.K. that the English don't get hung up on how long a song is. So, it seemed like a good way to get it out there. And now that I'm playing it live, people are into it and it's really okay. People are going to either really love it or really hate it. You're right about the song really being a journey. I really enjoyed the track, but immediately wondered about how it would translate live. It's good to hear it's being received well.It was surprising how well it was received, yes. It's really a joy to play it. I did it with just two guitars and it really worked out. People hung in there and it was fun.Another song on the new album is "Forever Mine." There's a story in the PR sheet for the album about how you wrote the song around something you overheard your wife say. Is that the first time something like that happened?Oh no! That happens all the time in some capacity. It really does. Sometimes it's a misunderstood phrase on an airport PA or maybe it's a half conversation overheard. You know, eavesdropping is a great way to get material. A lot of times, it might not be exactly what somebody might have said, but that inspires a phrase that just works for me.Do you find most of your songs are built around lyrics then?Usually it's lyric first, but sometimes it's melody. And I carry a hand-held recorder everywhere I go so I can just hum or whistle a melody if one hits me. Sometimes it's both simultaneously – lyric and melody at the same time – those are a little confusing to me, but sometimes it comes in that form. I just feel like I have my own little radio station and sometimes the static clears and something beams in from out there.And some days it's really fuzzy reception, right?(Laughs) You know. You're a writer, you know. You just can't chase it. The beauty of it, for me, you can't make it happen. That's the beauty of it; I have absolutely no control over it. It's not mine to manipulate. If I'm quiet and I sit down and clear my mind, it will present itself. That's the intriguing part, it's free. Isn't it? You can't go buy it. You can't sit down and say, "I think today I shall write."It doesn't work that way.No, that's usually the kiss of death, for me anyway.We were talking about "Poor Lila's Ghost" from One More Midnight, if you go further back through your albums there is "Someplace Far Away" and "Daddy's Oldsmobile," which are also really well-crafted stories as well as songs. Have you ever considered story or novel writing as another creative outlet?You know, I have. I have. I have a whole pile of short stories that I… you know. I just don't know. I think songwriting is my niche. That's what I do, write those little movies. I don't know if I could pull something off in novel form. I'm just not sure. With my short stories, I try to find resolution with everything so they're a little too clever, I think. They're not really stream-of-consciousness. That's a hard thing to do.I don't think there's such a thing as too clever. Do you really think there is?I don't know yet. I just don't know.Do you have a favorite song?No. I've probably got twenty favorite songs. They become old friends. I've been doing this so long that they really do become old friends. And it's fun. You mentioned "Daddy's Oldsmobile," someone hollered out for that about three months ago and I hadn't played it in a long time, and it came right back. They're just always there. Is there a certain song or artist in your iPod or MP3 player that your fans, and our readers, might be surprised to hear you listen to and/or like?I don't know if they'd be surprised by this behavior, but I listen to a lot of Steely Dan records. I'm crazy about Steely Dan. My tour manager just got me an iPod and I'm about as technically advanced as a caveman, so he set me up. He downloaded a bunch of songs. I've got a lot of things that are probably obvious, not much outside the box right now. But, I have been listening to a lot of classical music lately for some reason. I used to do that a lot when I was doing cabinet making in New England. I've sort of returned to that for some reason. That might be surprising to people. It's pretty well known that besides being a songwriter you're also a talented carpenter and artist. Do the three creative outlets work together?Yes. For example have you ever had to stop in the middle of a painting to go write a song, because what you were painting inspired a lyric? Yeah, of course. That's all right brain stuff. It's all primal forms of creativity and, for me, they come from exactly the same place. There's no difference and there is no way to differentiate those things. They all come from the same place.So, do you get especially stir-crazy when you are touring, or are you still able to tap into that side of it all? No, I'm really good on the road. I travel really well, I really do. I become very sloth-like. I don't get in a hurry. I don't worry if the airplane is ten minutes late and I don't care if they lose my bag. I just expect these things to occur because I travel so much, I mean millions of miles, and consequently things are going to happen. I have absolutely no anxiety about it whatsoever. (laugh) It really pisses off the guys in my band.(laughing) I can imagine. You wouldn't travel well with me then?What? Do you get uptight when you travel?I just worry about all the little details.Nah! You can't do that. I mean, I leave the house in basically the same clothes I'm going to come back home in. It’s sort of like a Mennonite, you know one suit of clothes, I put those clothes on and go do my thing. I literally get away with a shaving kit. If I go for a month, I'll take two pair of jeans and six shirts and I'll wear that first shirt everyday until someone shames me into washing it. I was going to ask how you prepare for an extensive tour like you're getting ready to do in the U.K. at the end of the month, but you don't. Do you?(laughs) No, I don't. My wife prepares for an extensive tour. I'm taking my nine-year-old daughter to Ireland with me on this trip. We're leaving on the 20th for like five weeks and Fana Rose is coming with me. So we're having to be more specific about the planning of that part of it: her outfits, her rain boots, her coloring items, and all of that stuff. But go Dad! You know, I'll just have a coat and strap a guitar on and I'll be ready. Toothbrush and a credit card, that's about it.Your wife and your younger ones are staying home then?Yeah.St. Jude's used "Stay Forever" one year for their annual fund raiser. What was your reaction?It's fantastic. I was down there again last year and it's just tough walking into those rooms and seeing those little babies, you know. It's not easy, but what I find is my typical approach, and I've done it a few times now, is I go in and visit the families and visit the kids, get back out of there and have a good cry, and I reflect on the strength and courage of those kids and their families. They are really something; they really are. It is probably the best place in the entire world for the family to feel really cared for. People don't have to worry about anything but the wellness of their child when they are there. They don't have to worry about buying laundry detergent or toothpaste, it's all provided. The living space is provided. St Jude takes care of the entire family and it's absolutely amazing. I can't say enough about it.You've had bit acting parts in a couple of movies, is acting something you would like to pursue on a larger level?No, not really. I get offers once in awhile, but I'm not an actor. I'm really not. I'm sort of a prop, not an actor.What about the music for the soundtracks?Yeah, I do like to do that. I love getting songs into films. I found out the other day, matter of fact, that Albert Ruddy is producing a movie called Camille with Sienna Miller, Scott Glen, and David Carradine. It's an independent film and they are using "One More Midnight." That happens once in a while, people sort of stumble onto my work. I'm real happy when songs get into films.It's great that the song has already been picked up. The album is just getting its U.K. release this month, right?Yeah, that's right. It's mighty fine.Did you have a specific marketing strategy behind releasing this album U.K. first?At this point in time it was really important to get a record out over there, before the tour which starts February 22. I have five weeks in Ireland and Scotland. I have a great relationship with the label in London, Curb U.K., so it just seemed really appropriate since I mastered all these songs and they were ready for release that they go there first. It will be followed up here, I would think, by March or April of this year. And then you will be touring in the U.S. when you're are done in the U.K.?Oh yeah! My calendar is filling up already. We're looking really good. In May I'm very busy.As our Featured Artist coverage continues this month, look for a review of One More Midnight and a closer look at his songwriting. As Hal said, he will be touring extensively this summer. If you are able, get out and see a show. His official website is currently being updated, so check back often and keep up-to-date at his Myspace which has streaming MP3s available including one for "Just This Side of Heaven" from One More Midnight.

Hal Ketchum - BC Magazine's Featured Artist

Connie Phillips — Thu, 1 Feb 2007 08:57:29 EST

This month BC Magazine will be shining the spotlight big and bright on one of the most substantial songwriters in country music, Hal Ketchum. Known for crafting stories of life, love, joy and heartache, he also has a unique voice and the songs he sings are distinctively his, whether he wrote them or not, and often immediately recognizable. As if this wasn't creative release enough, Ketchum is also a painter and sculptor, his work is shown at the Pena Gallery in Santa Fe, New Mexico, as well as a carpenter, building everything from cabinets to a back porch on his home. I remember the first time I heard a Hal Ketchum song on the radio – or maybe I saw the video on CMT. It was his first charting single in 1991, "Small Town Saturday Night," and it struck something deep and the realisms made me smile. Even though I was born in a large city, Detroit MI, my parents moved my brothers, sister and me two hundred miles away to a small town devoid of crime and traffic. To a pre-teen it was also devoid of anything fun. With a population of 1,200, give or take a half dozen, it was a laid back and peaceful place for my parents and mind-numbingly boring for a teenager. So when Ketchum sings in "Past the Point of Rescue" of teenagers "being bad to have a good time" or "The world must be flat / 'cause when people leave town they never come back," from that same young point of view, I could relate. Of course as an adult, I can see the appeal my parent's did, but that wasn't where the song was coming from. With that first encounter, I was drawn to his music and with each subsequent single from Past the Point of Rescue, "I Know Where Love Lives," "Past The Point Of Rescue," and the cover of the Vogues hit, "Five O'Clock World", the place for Hal Ketchum in my music collection was cemented.Of course, that first charting single and album isn't the beginning of his story. Like most, he's paid his dues. When he was in high-school he played drums in numerous teen-aged bands in his native New York. Following music's call, he found himself in Texas working as a cabinet maker in the '80s while playing with already established artists such as Lyle Lovett, Jimmie Dale Gilmore, Willie Nelson, and Asleep at the Wheel; and in '89 he released Threadbare Alibis under the name Hal Michael Ketchum on the Watermelon label. The '90s brought a record deal with Los Angeles based Curb Records and in '91 Past The Point of Rescue was released. He remains with Curb and is set to release his ninth album with the label, One More Midnight. Riding on the breakthrough success of the debut release, Sure Love came out in 1992. More than a title, the album had a theme running through it. In the romantic ballads of "You Lovin' Me" and "Softer Than a Whisper" to the upbeat title track we hear songs of romantic love, but the album goes deeper. "Daddy's Oldsmobile" speaks of familial bonds, and "Trail of Tears" goes even deeper to a pride in race and tradition. The album also showed Ketchum's diversity with the inclusion of "'Til The Coast is Clear," a fun jazzy lament of a hidden liaison.Two years later, Every Little Word was released, and boasted six charting singles. Also a well rounded album blending ballads and upbeat tracks with a perfect two-step beat. "Stay Forever," one of his extraordinary love songs, performed the best, peaking at #8. Four years would pass before the next new album, I Saw The Light, would be released, but the long wait was buffered with the '96 greatest hits package, simply titled The Hits. A collection of fourteen chart topping singles, it would be an excellent place for a listener not acquainted with his material to get a representation of all his styles. The '90s closed out with the release of Awaiting Redemption in 1999.Aside from having six albums and thirteen charting singles in the '90s, he received recognition from his peers and was inducted into the Grand Ole Opry In January of 1994. To celebrate the honor, he wrote and recited a poem onstage during the ceremony. The '90s also brought a bit role in the film Maverick and songs included on the Maverick soundtrack and Something to Talk About soundtrack,Ketchum continued to write and record spun tales of humanity and the human condition into the new millennium. With the release of Lucky Man in 2001, which contained the single "She Is." That would be followed by King of Love in 2003, and now, this month One More Midnight will be released in the UK, with a US release to follow in the spring. Look for a full review of the album later this month.For all his creative endeavors, we will be tipping our hats to Hal Ketchum, our Featured Artist for February. Keep your browser pointed toward BC Magazine as we will be taking a closer look at the music and the man all this month. For more information on Hal Ketchum, his official website has news, tour information, and photos. You can also visit his Myspace Profile to hear streaming MP3s, including one for "Just This Side of Heaven" from One More Midnight.