And That Concludes Another Tuesday Night At the Abbey Pub Open Mic
For years now on Tuesdays I go to The Abbey Pub. I started going there a short time after Mark Zeus had relocated the open mic from the Clearwater Tap back in '94. After he moved to Houston in 2001, Erin O'Toole started hosting. She and Jeff Sachs make up the duo Home Kookin' and around them has coalesced a steady bunch of regulars that has resulted over time in a rousing slew of all star jams.
Last night I was bereft of transportation. The wife and kid were out of town and it was starting to rain. I mulled over the idea of skipping the whole thing but the phone rang and Kris Nichols offered to swing by and tote me over. I knew I would have gotten into hot water if I didn't show up. Leisha Fawn had called earlier in the week to let me know she was coming in to celebrate her husband's birthday and needed an accompanyist. She was there readying party favors when Kris and I strolled in and was in a mood to party. We spoke briefly of her health problems, but after pausing to show off some healing IV marks and reciting what good drugs are really like, she let it be known that she was there to have fun. And we proceeded to.
The regulars were aplenty. Greg Steele, John T, Rockin' Rick Wells, Fred, Craig, Seth, Brett, and others. There were some lively new comers and a rowdy table smack in the middle that, apparently high as a kite, absolutely loved everything that was being played.
Erin and Jeff were doing an opening set. Typically, back in the "Green Room" there is a tendancy for discussion to turn political. Tonight was no different. The friends and folks gathered at the Abbey on Tuesdays are bent on revolution...and so am I. Some really good songs are coming out of it and it is good to have a live venue with real people to vent the everpresent frustration and anger. As motivating and worthwhile as blogs are, there is no substitute for good old face to face ranting; even if beers occasionally get spilled.
But tonight, I retreated from what to do with all the money getting sucked to the top of the food chain and the clear evidence of a breakdown in supply side theory to go out, lean against a table and listen to that voice that still gives me shivers. Erin sings like Elvis, Loretta Lynn, Ray Charles, and Janis. Like if she couldn't she'd go crazy. Too few people sing like their life depends on it and with a total absense of pretense.
When this list swung into action I hopped around rather busy. I joined Kris' set first off. Our nine week residency at the Abbey has given us an ease to not spend a moment thinking of what comes next; it all stays in the moment and is quite fun. We wrapped Kris' three song set with his original "Criminals From Texas." A tune that is begging to be recorded. In it, he outlines the outrages that gets discussed back in the Green Room so often. The song is taut and powerful on its good nights. Last night was a good night. However, my D1 needed strings and was not at all fun to play and proving to be a distraction. Finding Greg Steele offstage, I asked to borrow his beautiful Taylor 6-string cutaway. I played it the rest of the night, deeply grateful for Greg.
After the success of "Criminals" with the audience, I decided to kick my set off with "Things Upside Down" an older political song of mine written back during the Bush I years. The duplicity that inspired the song originally now seem rather tame, everday stuff. It couldn't connect with the crowd perhaps with the same potency as Kris' song because rising unemployment and deterioration of the economy in the heartland is something we all are used to at this point. War, criminality, and venal class warfare is much more visceral lyric content.
I followed up with another oldie "Every Waking Hour" which I haven't done in a while, then Leisha wanted to come up before some of her gang had to take off, so she came up and we did "Happy Birthday" for Scott (her husband), Bobby Apollo (who got beeped moments earlier and had to take off), and Kris. They were all celebrating birthdays. Then we did "Crazy". She wanted to try to do stuff in a lower register because she said the meds were messing with her high end. "Crazy" sounded nice.
Shortly thereafter, I was asked to join Rockin' Rick Wells and we did "Tupelo Honey", "Johnny B. Goode", and the Otis Redding version of "Satisfaction" with Kevin Miller on sax and Jeff Sachs on fretless. That kicked things up a notch. Recently, on a night when I was guest hosting two bands insisted on signing up on the list and trying to set up on the small stage. The first band hauls in a couple LARGE amps and a kit that basically takes up the whole stage. We somehow get them wired up and they go into a thrash style metal frenzy that is supposed to get people rocking, but merely leaves them stunned. The second band used sequencers to drop samples into a crowded guitar/drums mix that had some originality going for it, but fit awkwardly in the room. It never ceases to amaze me how these sturdy, old rockers work their magic time after time with the simplest elements. The lyrics punch and sway, the beat bops, the breaks sing. 2:30 of expression distilled to it's core. I wish some of the new stuff with its anguished lyrics and impotent furiousness that seeks to be profound, was profound. But it isn't usually. "Whole Lotta Shakin' Goin' On" was relevatory danger unleashed nearly 50 years ago. And that kind of material still gets people up. Maybe there is a fundamental difference in music that gets you up and music that gets you down. Who the hell knows...
At this point the night is getting a sweaty patina to it and the room is getting louder. The night is drizzling lightly and I step outside to breathe. Being unemployed sucks. Being unemployed in Chicago in the summer when the music is floating out like big psychodelic balloons is somewhat bearable. I get by with a little help...
Leisha was getting ready to go up and had a fairly big table cheering her on. She wanted to do "Landslide", but I'll be damned if I've ever played it. We ducked outside and started humming the melody until we could get it worked out seconds before we were up. She wanted to do "Pink Houses", but I thought it would be too high and she would blow her pipes on the first song, so I suggested Warren Zevon's "Poor Pitiful Me". Zevon's stuff is so fun to play that it is a shame the wicked soul is dead and can't write more. "I Was In The House When The House Burn't Down" is a favorite of mine that I played there shortly after he shuffled off. It's a fine, fine tune. Anyway...we got through "Landslide" and did a blues in E and called it quits. She had had fun, I had fun and I was happy to be a part.
Kevin Miller, a saxaphonist, was orchestrating an all star jam for his spot on the list. The last time I believe we wound up doing a 20-minute version of "All Along The Watchtower" that may have run outta gas after the first four minutes and had to be pushed into the station by four panting guys. You never know what will happen unless you try it. This time, we did "Moondance" followed by "Stormy Monday" and ended with some still left in the tank.
It is only occasionally that covers are so predominant at the open mic. Last week, it was virtually all original material and the place is a great, warm room to debut new material. But last night something in the summer air was calling for a night of oldies. Jeff and Erin brought the night to a finish with a brand-new original "Poor Old Upchucking Mule". Now, once you have a mental image of a retching mule you have a rather precise idea of how the song sounds. It was a suitable "big finish".
Last night I was bereft of transportation. The wife and kid were out of town and it was starting to rain. I mulled over the idea of skipping the whole thing but the phone rang and Kris Nichols offered to swing by and tote me over. I knew I would have gotten into hot water if I didn't show up. Leisha Fawn had called earlier in the week to let me know she was coming in to celebrate her husband's birthday and needed an accompanyist. She was there readying party favors when Kris and I strolled in and was in a mood to party. We spoke briefly of her health problems, but after pausing to show off some healing IV marks and reciting what good drugs are really like, she let it be known that she was there to have fun. And we proceeded to.
The regulars were aplenty. Greg Steele, John T, Rockin' Rick Wells, Fred, Craig, Seth, Brett, and others. There were some lively new comers and a rowdy table smack in the middle that, apparently high as a kite, absolutely loved everything that was being played.
Erin and Jeff were doing an opening set. Typically, back in the "Green Room" there is a tendancy for discussion to turn political. Tonight was no different. The friends and folks gathered at the Abbey on Tuesdays are bent on revolution...and so am I. Some really good songs are coming out of it and it is good to have a live venue with real people to vent the everpresent frustration and anger. As motivating and worthwhile as blogs are, there is no substitute for good old face to face ranting; even if beers occasionally get spilled.
But tonight, I retreated from what to do with all the money getting sucked to the top of the food chain and the clear evidence of a breakdown in supply side theory to go out, lean against a table and listen to that voice that still gives me shivers. Erin sings like Elvis, Loretta Lynn, Ray Charles, and Janis. Like if she couldn't she'd go crazy. Too few people sing like their life depends on it and with a total absense of pretense.
When this list swung into action I hopped around rather busy. I joined Kris' set first off. Our nine week residency at the Abbey has given us an ease to not spend a moment thinking of what comes next; it all stays in the moment and is quite fun. We wrapped Kris' three song set with his original "Criminals From Texas." A tune that is begging to be recorded. In it, he outlines the outrages that gets discussed back in the Green Room so often. The song is taut and powerful on its good nights. Last night was a good night. However, my D1 needed strings and was not at all fun to play and proving to be a distraction. Finding Greg Steele offstage, I asked to borrow his beautiful Taylor 6-string cutaway. I played it the rest of the night, deeply grateful for Greg.
After the success of "Criminals" with the audience, I decided to kick my set off with "Things Upside Down" an older political song of mine written back during the Bush I years. The duplicity that inspired the song originally now seem rather tame, everday stuff. It couldn't connect with the crowd perhaps with the same potency as Kris' song because rising unemployment and deterioration of the economy in the heartland is something we all are used to at this point. War, criminality, and venal class warfare is much more visceral lyric content.
I followed up with another oldie "Every Waking Hour" which I haven't done in a while, then Leisha wanted to come up before some of her gang had to take off, so she came up and we did "Happy Birthday" for Scott (her husband), Bobby Apollo (who got beeped moments earlier and had to take off), and Kris. They were all celebrating birthdays. Then we did "Crazy". She wanted to try to do stuff in a lower register because she said the meds were messing with her high end. "Crazy" sounded nice.
Shortly thereafter, I was asked to join Rockin' Rick Wells and we did "Tupelo Honey", "Johnny B. Goode", and the Otis Redding version of "Satisfaction" with Kevin Miller on sax and Jeff Sachs on fretless. That kicked things up a notch. Recently, on a night when I was guest hosting two bands insisted on signing up on the list and trying to set up on the small stage. The first band hauls in a couple LARGE amps and a kit that basically takes up the whole stage. We somehow get them wired up and they go into a thrash style metal frenzy that is supposed to get people rocking, but merely leaves them stunned. The second band used sequencers to drop samples into a crowded guitar/drums mix that had some originality going for it, but fit awkwardly in the room. It never ceases to amaze me how these sturdy, old rockers work their magic time after time with the simplest elements. The lyrics punch and sway, the beat bops, the breaks sing. 2:30 of expression distilled to it's core. I wish some of the new stuff with its anguished lyrics and impotent furiousness that seeks to be profound, was profound. But it isn't usually. "Whole Lotta Shakin' Goin' On" was relevatory danger unleashed nearly 50 years ago. And that kind of material still gets people up. Maybe there is a fundamental difference in music that gets you up and music that gets you down. Who the hell knows...
At this point the night is getting a sweaty patina to it and the room is getting louder. The night is drizzling lightly and I step outside to breathe. Being unemployed sucks. Being unemployed in Chicago in the summer when the music is floating out like big psychodelic balloons is somewhat bearable. I get by with a little help...
Leisha was getting ready to go up and had a fairly big table cheering her on. She wanted to do "Landslide", but I'll be damned if I've ever played it. We ducked outside and started humming the melody until we could get it worked out seconds before we were up. She wanted to do "Pink Houses", but I thought it would be too high and she would blow her pipes on the first song, so I suggested Warren Zevon's "Poor Pitiful Me". Zevon's stuff is so fun to play that it is a shame the wicked soul is dead and can't write more. "I Was In The House When The House Burn't Down" is a favorite of mine that I played there shortly after he shuffled off. It's a fine, fine tune. Anyway...we got through "Landslide" and did a blues in E and called it quits. She had had fun, I had fun and I was happy to be a part.
Kevin Miller, a saxaphonist, was orchestrating an all star jam for his spot on the list. The last time I believe we wound up doing a 20-minute version of "All Along The Watchtower" that may have run outta gas after the first four minutes and had to be pushed into the station by four panting guys. You never know what will happen unless you try it. This time, we did "Moondance" followed by "Stormy Monday" and ended with some still left in the tank.
It is only occasionally that covers are so predominant at the open mic. Last week, it was virtually all original material and the place is a great, warm room to debut new material. But last night something in the summer air was calling for a night of oldies. Jeff and Erin brought the night to a finish with a brand-new original "Poor Old Upchucking Mule". Now, once you have a mental image of a retching mule you have a rather precise idea of how the song sounds. It was a suitable "big finish".
posted by obelus at 7/21/2004 12:57:00 PM
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