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Thursday, August 31, 2006

Chicago Events To Check In August!

Here is a list of the events I am going to try and make it to this month. If you happen to see me there, come up and say hi. I'll give you some buttons.

Related Reviews

[ A Scratch Made In Heaven / Quantazelle - Coaster ]

Sunday, August 13, 2006

LIVE: Hardscrabble & Pyrite @ Cal's Fest 2006

Performer: Hardscrabble & Pyrite @ Cal's Fest 2006
Location: Cal's Bar / 400 S. Wells / Chicago, IL
Date: 08/13/06

Review: "Y'know, if you stand here long enough, the dumpsters start to smell like popcorn" my girlfriend said to me over the washboard stylings of Chicago's Hardscrabble. I can't think of a better quote for Cal's Bar, which sits a couple of blocks away from and a hundred levels lower than the Sears Tower. Cal's unassuming corner liquor store exterior has always been the kind of place where you find treasure among trash to me. Formerly closed on weekends and catering to Loop businessmen, Cal's now opens its doors on the Financial District Lords' days of rest in order to give homeless, hipsters and hillbillies a place to drink cheap, talk dirty and rock hard. Every Friday and Saturday, you can head down to Cal's and witness three or four bands of varying quality for no cover. A day's worth of collecting aluminum will score you a few drinks and if you end up liking the music, you can use your spare change to tip the bands (the only payment Cal's offers... and the employee's shirts insist on it). The success of this equation led Cal's to start their own music festival in 2002, dubbing it, simply, Cal's Fest.

2 days. 16 bands. $10.00.

Eat your heart out Lollapitchtonation!

I was on hand Sunday, Aug. 13th to see two of the fest's bands play. One hillbilly jug-style and the other a balls-out rock group. That brings us to the popcorn scented dumpsters.

Cal's fest isn't in a park or even in the dimly-lit, ash-coated corner of Cal's itself. This rock festival might be the only one that takes place in an alleyway lined with garbage bins. It couldn't be more appropriate. The far end of the alley contains a small stage and just beyond lies the onramp to the Eisenhower Expressway. With an armband (or in my girlfriend's and my case, a handstamp that read "100% SHIT") to let the girl pulling beers out of rolling coolers know you paid the gate fee and are old enough to drink, the mood isn't much different than those hot summer nights outside of your cousin's garage leaning on his Camaro. Only here, there's no Camaro, no annoying nephews running around with snot on their shirts and a lot better music than the classic rock station your cousin has pumping out of his trunk speakers.

Hardscrabble

$2 PBR in hand, I glanced around the alley to see thirty or so people mulling about, tapping toes, smoking and dancing in place. While I shook a few hands and said hi to a few friends, my ears perked up at a song utterly familiar to me, yet unrecognizable due to the washboard percussion and thigh-slapping rhythm that was added to it. An old-timey country whine chorus gave the lyrics I should have known a twang they'd never had before. It wasn't until a couple of days later when I had to have someone tell me that this song was the Tom Waits' song, "Jockey Full Of Bourbon." Despite my confusion, the performers on the Cal's Fest stage drew my attention.

Hardscrabble is a trio consisting of guitarist John Hasbrouck (Cracklin' Moth), washboard percussionist Lawrence Peters (Plastic Crimewave Sound, Velcro Lews & His 100 Proof Band) and brand spankin' new upright bassist Josh Piet (The Hoyle Brothers). Forget alt-country, Hardscrabble is a real country group right here in the not-so-country landscape of Chicago. Amidst all of the skyscrapers and fancy dressed hotdogs, these guys manage to pluck and scrape out a rhythm that can turn even the crustiest alley by the freeway into a saloon. The self-admitted "jugless jug band" had Cal's Fest attendees hootin' and hollerin' as they turned standards and classics into a country version of free jazz. One can tell that John, Lawrence and Josh are all competent musicians capable of playing any of the numerous songs they cover they way it originally sounded, but the freeform playfulness between them in their live show is what makes Hardscrabble stand out. If Django Rheinhardt had played a laundry appliance, this is the sound I imagine he would have made.

Pyrite

From the riverside rhythms of Hardscrabble, that both hipster and hip-replacement patient could enjoy, Cal's fest shifted without a clutch into the three piece garage rock stylings of Pyrite. With a disjointed and driving rock sound, this young band has a smattering of psychedelia on its edges and a great energy on stage. With tongue-in-cheek dirty-rock songs like "Arrest That Cop" and "Automatic Drip," Pyrite can't help but to project that energy into the crowd during its live show. Comprised of guitarist Mike Green, bassist Brandon Bayles and drummer Geoff Atkinson (Telenovela), Pyrite played what would have been a solid set if a bass string hadn't snapped during the second song. Bayles is the vocal strength of the group and plays bass more like he had a six string playing rhythm, which occasionally gives the aural illusion of two guitars. Green's guitar style reminds me of the 13th Floor Elevators or The Red Krayola by wavering in and out of tune intentionally. Atkinson, as I have pointed out before, is the consummate drummer, happy to avoid the onstage rock antics of his bandmates (which nearly ended in collision) and beat out more complex rhythms than Pyrite's songs require.

After recovering from a defective bass guitar, Pyrite scorched through a solid set of the kind of rock music a person comes to expect from a bar like Cal's. During their final number, Bayles broke the song down into a squelch of feedback and effects from the pedals at his feet. It's a sound I am perfectly content to listen to for the textures and raw power of noise, but hope to see these textures incorporated into Pyrite's songs at future shows.

With only two bands under my belt, I left Cal's Fest 2006 feeling as if only Cal's could offer me as diverse a festival in only two hours. When the scene gets old and Chicago starts to get the best of me, it is establishments like Cal's that survive in the heart of the city that cheer me up. There is still something pure beneath all of the steel and glass and it's holding a cold beer in one hand... and a guitar in the other.

Rating: 4 / 5

Cal's Bar: [ Website / Compilation CD ]

Hardscrabble: [ Website / Myspace / Buy Their CD ]

Pyrite: [ Myspace ]

Other: [ More pictures of Cal's Fest @ Consumatron's Flickr Stream ]

Friday, August 11, 2006

LIVE: Tom Waits - 08/09/06 - Chicago, IL

Performer: Tom Waits
Location: Auditorium Theatre / 430 S. Michigan Ave. / Chicago, IL
Date: 08/09/06

Review: Remember that feeling you had when you were a teenager? It was that feeling that if you didn't get to see your favorite musician, you would die or at least drink more of your friends' parents' wine coolers and Busch Light that weekend. When I was younger, I kept a mental list of musicians I needed to see before I could die a happy man. As I got older, the list got shorter as I started to see some of the bands on that list. Mostly it got shorter, however, because my priorities in life changed. I'll always be a passionate music lover and fan, but no more am I fanatic to the point where I would knock over a baby carriage to see a show. The one artist who never got scratched off that list, however, is Tom Waits. It is safe to say that the musically inclined part of myself can now die a happy man.

Tom Waits has always been the poet laureate of music to me. There are other greats like Lennon, Cohen and Drake, but for pure emotion, honesty and straightforward delivery, no one tops Waits in my book. Whether it is a young drunken man pontificating from a piano bench (Nighthawks At The Diner), a traveler down on his luck (Rain Dogs) or a man who simply wants to tinker with the tools in his studio and scream wildly (Get Behind The Mule, Real Gone), Waits has never failed to hit a nerve with me.

Despite having seats in Chicago's Auditorium Theatre so high up that my nose was afraid to bleed, there really isn't a bad seat in this beautiful building. Other than having a bit of trouble making out the bands features, Wednesday's show didn't fail to delight. Starting almost 45 minutes late, the lines to get into the all-Will Call show were quite long and the delay was probably more of a courtesy than a way to make the crowd anxious. Waits requests that all liquor sales are halted before the show begins due to the fact that his live performances are just as much theatre and storytelling as they are music so this delay gave the drinkers enough time to finish their drinks and woozily make it to their seats. Besides, all one had to do was to look around the audience to see several men who were old enough to know better dressed, primped and postured to look exactly like Tom Waits himself. There is no doubt in my mind that some of these guys still would knock over a baby carriage to see this show.

When Tom finally did take the stage, which was strewn and set with speakers, instruments and acoustical toys in a small mountain, he was in top carnival barker form. His signature gravelled voice came on stark and strong. As the band kept their wobbly precision to the song "Make It Rain," Tom screamed the chorus as if he was really addressing the clouds, who, he knows, have more power than the gods. Next came the clattering, but irrefutably danceable "Hoist That Rag." Dressed in his signature suit and hat, Tom rarely moved from the small wooden platform provided for him in front of a stack of bullhorn-style speakers. Spasming and pulling at the air with his clutching hands, the theatrics were present, but all necessary and all natural. After a few songs, the stage banter Waits is known (and lauded) for began. Most of it was Chicago themed as Waits spent a short time living in Chicago in the seventies. He said something about cows, but much of what was said was muffled due to the distance to our gallery seats.

The first highlight, for me, was when a piano was wheeled out onto the stage and Waits fell back into his old ways of tickling keys and tickling the audience with songs and banter. Though only two songs long, the piano set contained two of his best. First came "Tango Till They're Sore" followed by a story about Chicago's famous Wiener's Circle and how the employees there called Tom a "dickweed." Ending his respite at the ivory was "Tom Traubert's Blues," which seemed to be a crowd favorite.

Judging by Tom's speaking voice, many of the more blues driven songs with harsh staccato lyrics were expected. The gruff storyteller's personality had given way to a more rollicking country-tinged one as Waits picked up a small guitar to play rhythm. The stories he did tell, through the songs "Eyeball Kid" and "What's He Building In There?" took on a sound-collage creepiness while some of his other well known songs were hardly recognizable until they were well underway. Many of the songs were provided with a more bluesy beat than they originally had, but the band and Waits himself were having a good time morphing well known masterpieces into something completely different and equally enjoyable. Toward the end of the first set, they played a medley of the old Howlin' Wolf song "Who's Been Talking?" mixed with Waits' own "Till The Money Runs Out." At moments, it was as if they were blending the two songs like a DJ would. The first set ended with a powerful feed of "Get Behind The Mule."

After only a few minutes of crowd roar Tom took the stage again and with a spotlight on him and his guitar, he sang a somber and moving rendition of the searching soldier's song, "The Day After Tomorrow." The audience was moved to silence with a few uncontrollable cries of admiration. From the quiet, the band re-emerged with an explosive version of "Singapore."

Previous to attending the show, I had been reading the setlists for the other stops on this short Orphans Tour (a tour to celebrate the release of Waits' 3-disc Orphans Rarities Box Set) to get an idea of what to expect. The first thing I did not expect was a second encore. Most of the setlists I had read included only one, but after five more minutes of darkened cheering and enough foot stamping to bring the 100+ year old Auditorium Theatre down, the band came back and slid directly into "Whistling Past The Graveyard." What followed was completely unexpected. I had secret hopes that Tom would play my favorite song. I could revert to my teen self and write a review as long as this one, explaining all of the different things that song has meant to me at different times, but I will spare you. Regardless, I didn't think Tom's voice was up for it and I haven't seen a setlist from the last ten years where he had played that song so I had completely written it out of the realm of possibility. So, when Waits quietly sang, "The smart money's on Harlem..." I very nearly turned into a twelve year old girl seeing the New Kids On The Block. Of course, I regained my composure, put my arm around my girlfriend, swayed and quietly sang along to my favorite Tom Waits song, "Time."

So, I'm done with lists. Every concert I see from now on is simply more icing on the icing. Tom Waits was the pinnacle. The requirement filled. Waits had an amazing presence that ricocheted from playful to stern and his backing band was spot on each time. The stand-up bassist and vibe/banjo/keyboard players gave exceptional performances. I only wish I could have heard Waits' spoken banter better so I knew what their names were. Regardless, each second of the show was carried off without a hitch and I cannot remember the last time I was filled with so much awe at a concert. My condolences to all who were unable to get tickets.


Setlist


Make It Rain
Hoist That Rag
Shore Leave
God's Away On Business
All The World Is Green
Falling Down
Tango Till They're Sore
Tom Traubert's Blues
Eyeball Kid
Down In The Hole
Don't Go Into That Barn
Shake It
Trampled Rose
What's He Building In There
Who's Been Talking / Till The Money Runs Out
Murder in the Red Barn
Lie To Me Baby
Get Behind The Mule

Day After Tomorrow
Singapore

Whistlin' Past The Graveyard
Time

Rating: 4.75 / 5

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