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Josh Harty Interview

Josh Harty’s latest release Nowhere is an intense collection of engaging, and sometimes painful songs that will capture your attention right down to the last track. In this interview he tells us the stories behind some of these songs as well as some interesting tales from the road.

Harty’s subtlety multi-layered approach to his lyrics and music is polished to a warm glow on this seven-track EP. Each song revealing another seam of a once buried dream, regret, or desire. The only thing I find fault with the album is that it’s too short; it leaves you wanting more, but yet still satisfied.

And if it wasn’t for this interview, I never would have learned of the Shitty Barn in Spring Green, Wisconsin. Thanks, Josh.

Interview with Josh Harty

Since the audio quality from the Wisconsin end of the conversion was a bit sub-par (I apologize for that, but I did all I could do to enhance it) below is the super clean studio version of “On My Mind” for you to listen to and enjoy!

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Better yet – purchase and download Josh Harty’s album Nowhere. You won’t be disappointed!

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David Olney Interview

There are plenty of songs out there on the subject of the life and crucifixion of Christ, but none as told by the diverse cast of characters residing in David Olney’s captivating release The Stone. Olney takes the all too familiar Easter story, and deftly observes the events through the eyes of – a con man learning of a fellow “miracle-worker” who’s cutting into his livelihood; a lowly but proud donkey blessed with the honor of carrying a King into town; a convicted murderer baffled as to why he was spared from crucifixion because of stranger; and a career soldier who must shamefully admit the body is missing from the tomb he was assigned to guard.

I got the chance to talk with David about The Stone and its engagingly fresh perspective of an ancient story. Mr. Olney is equally as fascinating as his songwriting. As a bonus – he performed a couple of songs during the interview. Thanks, David! Enjoy!

David Olney Interview

Click here to preview, purchase “hard copy” or download David Olney’s music on Amazon.

 

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Tommy Womack is feelin’ good on Now What!

Tommy Womack - Now What!

The title of Tommy Womack’s latest CD – Now What! – may describe what went through his mind after the unexpected success of his 2007 release There, I Said It! (an album that almost never found its way to the record rack). As Tommy told me, “I thought I was done, and I almost pulled that record. I almost pulled the plug on it because I thought, No one wants to hear me confessing all this stuff. Thankfully I found out that by voicing my fears, I echoed the fears of a whole lot of people of my generation… It was far and away the most successful record I’ve ever had… It totally turned my career around.” The title of that album came from words that Tommy had written years earlier, and later took shape as a track on There, I Said It! called “I’m Never Gonna Be a Rock Star” that tells the tale of Tommy’s realization and reluctant acceptance that his rock star days were over. From 1985 to 1992 Womack had played lead guitar and sang lead vocals for the post-punk band Government Cheese. He may not be the rock star of yesterday, but Womack’s career as a must-be-heard singer/songwriter of today is thanks to that nearly shelved self-therapy project.

Now What! is an all-embracing collection of songs pulling influences from musical styles diverse as blues, Dixieland jazz, and classic rock, with just a pinch of rap. Womack lyrically sheds his skin with an equally assorted batch of subject matters. Tommy defends his diverse topics and says, “It’s really not a skitzo record at all!” There’s no need to defend his choices that, once again, a lot of people will relate to:  dealing with life on the road (or the road of life) and some of its pitfalls; the warmth of home and family; the past and how it can show up unannounced and bite you in the ass; the mortality we reluctantly realize as we grow older; and finally – love, simple and real.

The upbeat opener “Play That Cheap Trick, Cheap Trick Play” sets the optimistic tone – cheerfully declaring  “Another dollar, another day / I shouldn’t look back but I do anyway / Dad’s in the ground, Mom’s on the way / Play that Cheap Trick, Cheap Trick play” – while also giving us glimpses of Tommy’s undying love of his family, and his ever-haunting self-doubt. It’s all good in the end though as he borrows some favorite lines from Cheap Trick’s Surrender to sum it all up – “Momma’s alright, Daddy’s alright, the boy’s alright, we’re all alright.”

Listen to “Play That Cheap Trick, Cheap Trick Play”

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Continuing with the “we’re all alright” good vibe, comes “It Doesn’t Have To Be That Good” carrying the message that life needn’t be filled with gloriously rewarding moments. Sometimes it is what it is – ups, downs, paying bills, and mowing the lawn (and all that can happen in one day). The tune also reminds us “No matter what your life is like – it beats the pants off death.”

Have you ever run into an old flame and wish you hadn’t because all those old memories – good and bad – came flooding forward from their long-time hiding place way back in your mind? In the gentle ballad “Bye & Bye” (one of my favorite songs from Now What!) Tommy shares a story of when he bumped into, as he put it, “A real girl that I had a fling with back in the 80s.” As he explained further, “She was a real girl… well, she still is a real girl. We’d bumped into each other in the grocery store one day. It happened pretty much as it’s described in the song, except we didn’t end up at the checkout line at the same time”. Lyrics of remembrance came out of that encounter – “Your body still makes me a young man / Your brain’s still a bomb you can throw / I had me a nice hard decision to make / All those years ago.”  But in the end, the admission is made, possibly justifying that hard decision made so many years earlier – “I’d have made you a miserable husband / You’d have been a high maintenance wife.” But ardor seems to still linger in the air at that Harris Teeter. (Being from the west coast, I had to Google “Harris Teeter.”)

Listen to “Bye & Bye”

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The flip-side to “Bye & Bye” – “I’m Too Old to Feel That Way Right Now” – has Womack briefly trying to fan the old flame but realizing he isn’t quite up to it as “The touch of your hand leaves me inspired / But I’m set in my ways and kinda tired.” Getting old sure is a bitch.

In the slow-paced shuffle “On And Off the Wagon”, with a comical arrangement that cleverly pairs pedal steel guitar with a tuba,  Tommy confesses “I’ve learned to know my limits / I’ve learned to pass them by.” The lesson here – Maybe it’s best to say you’ve paused instead of quit.

In the few of the tunes on Now What! you might get the sensation that you’re on the road with Womack as he shares his witty tales. But in the hard-driving Rap-esque “90 Miles an Hour Down a Dead-End Street” you feel like there’s a pissed-off drunken maniac behind the wheel, and you’re trapped in the passenger seat clutching a bottle of Chianti for dear life as the driver – looking a lot like a creation of Ed “Big Daddy” Roth – barks at you, “Don’t spill any of that shit!” At this point, you may wonder if jumping from this crazy ride would be better than the possible ending – but you choose to stay because it’s so damn fun!

The lyrics in the jazzy bop number “Guilty Snake Blues” shuffles near-carelessly over a wide topical stretch of lustful land, but somehow it all ties together like a cool ribbon of random thoughts punctuated by Jim Hoke’s smokey soulful sax.

Tommy Womack & Sheba the Wonder Dog (Photo by Gregg Roth)

One of Tommy’s personal favorites on the record is “Pot Head Blues.” It’s a quiet heartfelt acoustic tune that has him recollecting and somewhat regretting  time lost while stoned. But he doesn’t let it hold him back, stating “Nobody ever made me do it / No time to turn around, you blew it, get to it / Lay it down, you got nothing to lose.”

“I Love You to Pieces” is Tommy’s playful, flirtatious love letter to his wife, Beth. But feel free to use it on someone of your choice. It’s got plenty of Stones-like jamming filling it up with nothing but fun.

“Over the Hill” had been bouncing around in Tommy’s head for years, and he’s finally let it out. It’s a blend of feeling your age and spreading your love in the spirit of Donavan – complete with sublime horns.

The peacefully haunting “Wishes Do Come True” (sweetened by Lisa Oliver-Gray’s vocal talents) intrigued me as I tried to get the underlying meaning of it. To me the lines – “All through the day you used to want me / You used to need me now you just haunt me / I sold my soul for one night of your touch / How could I know when too much was too much” – spoke of Womack’s up and down relationship with the music industry. When I told Tommy my thoughts on this he laughed and said, “You know, I’m not sure what all “Wishes Do Come True” is about. That one has ambiguities in it that escape me. I wrote that with Irene Kelley. There are lines in there that we really liked, but there are lines in there that I’m not sure what they mean to this day. It could be about the music business. If it works that way in your interpretation, then I’m not going to say that it’s not about that. Who knows, maybe subconsciously it is about that. Like I said, I’m not sure what it’s about. You could take it as meaning infidelity.”

Listen to “Wishes Do Come True”

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The album wraps up with “Let’s Have Another Cigarette” which made me ask Tommy if he still smoked (even though it wasn’t any of my business). “No, no,” he said, “I haven’t smoked in about two and a half years. I’ve got a snuff pouch in my mouth right now. I still do those.” Getting back on the subject at hand, I then asked him how “Let’s Have Another Cigarette” came about. “I don’t remember writing it,” he said. “One day – I had it, the day before – I didn’t. It’s based in fact to a degree. I got a speeding ticket in Ohio one day where they were convinced that I was transporting drugs. So they took everything in the car apart, and I didn’t have anything in there… thank goodness. So I always see that as being a song about being in Ohio going from one gig to another, and it just seemed to call out to be the album closer. You know, because I’m leaving somewhere and going somewhere else. Also, in that song – I’m sober. There are other songs on that record where the character of me is not sober, but in this one I make it to the end of the record, and I’ve sobered up, I’m going on to the next gig, and life continues on. A nice way to close out the record – on an optimistic note.” Now What! comes full circle, ending as it began, cruising along in Tommy’s car, taillights fading into the night, he’s fully aware of where he’s at – “I got about a half a tank of gas / I’m a pimple on Dylan’s ass” – and he couldn’t be happier. Hopefully, we haven’t seen the last of Tommy Womack.

There, I Said It! was a tough act to follow, but Tommy Womack took himself to the next level and did not disappoint with Now What!.

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What’s Become of the Bus

After Jerry Garcia died in 1995, the remaining members of the Grateful Dead officially decided to break up. Over the years, there have been a few reunions of the surviving members involving a variety of additional musicians. In 1998, former Grateful Dead band mates Bob Weir, Phil Lesh and Mickey Hart formed a band called The Other Ones, which later became The Dead; they went on hiatus in 2004.

Ken Kesey with the original "Furthur" bus in July 2001. Photo: Brian Davies

The latest Weir and Lesh collection of musicians, Furthur, formed in 2009. The band’s name comes from Ken Kesey’s prankster-filled bus of the ’60s. The bus’ name placard, designed by artist Roy Sebern, gave inspiration to carry on whenever the bus broke down. The bus died shortly after a trip to Woodstock in 1969. It currently rests on the late Ken Kesey’s farm in Pleasant Hill.

Acid Test Poster 1965

The ties between Kesey and the Grateful Dead go back beyond the beginning — before Jerry Garcia picked up that old dictionary in search of a new name for their band, turned to Phil Lesh and said, “Hey man, how about The Grateful Dead?” Before they were The Grateful Dead, they were The Warlocks, and they played at many of Kesey’s parties during the mid-’60s. Their first performance as The Grateful Dead was on December 4, 1965, at one of Kesey’s Acid Tests. From there, The Grateful Dead — with an eclectic style that fused elements of rock, folk, bluegrass, reggae, country, jazz, psychedelic and space rock — took that long, strange trip into rock and roll history.

Phil Lesh, Bob Weir and Furthur

In addition to Weir and Lesh, Furthur has a strong lineup: keyboardist Jeff Chimenti of Weir’s band RatDog; guitarist/vocalist John Kadlecik of the Grateful Dead tribute band Dark Star Orchestra; drummer Joe Russo, who first played with Lesh in 2006; and backing vocalists Sunshine Becker and Jeff Pehrson. The Grateful Dead’s music remains the same, but the Deadhead has changed quite a bit over the years.

"Old Joe" O'Hara

"Old Joe" O'Hara - Click picture to watch video of Widespread Panic performing "Old Joe" at the Riverside Theater in Milwaukee, WI.

I spoke with a longtime Deadhead, Joe O’Hara, also known as Old Joe. For you Widespread Panic fans, yes, he’s that “Old Joe.” O’Hara has been going to concerts since the mid-’60s when he was about 6 years old (thanks to his older cousins), and he’s seen the Grateful Dead countless times since the early ’70s. Regarding the Deadhead scene, he told me, “Before ‘Touch of Grey’ came out [in 1987], it was a very kind, peaceful scene. We were family; we helped each other out. I would make big pots of stew or chili and feed others and sell some of it. I’d sell beer and tie-dye too.”

O’Hara continued, “After ‘Touch of Grey,’ — which, believe it or not, was their biggest hit with that MTV video — all of a sudden, the scene filled with a bunch of wanna-bes. We, as a family, would try to help those that looked like they needed help. Did they appreciate it? No, it would be, ‘Thanks, what’s next?’ They didn’t get it. It lost a lot of its appeal. It was that way until Jerry died.”

O’Hara assured me, “Now it’s come back to calmer people at the shows just enjoying the music.”

This article was originally published in Eugene Weekly, September 9, 2010

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Take a Ride on the Wild Side

It wouldn’t be fair to attempt to categorize the Boulder Acoustic Society. Even their name doesn’t quite accurately describe their sound. It wasn’t what I expected at all — kind of like the feeling of riding in the passenger seat when a 15-year-old tries driving for the first time. You bravely hold on tight, try not to scream and hope for the best. In the end, your driver surprises the hell out of you by how well he or she pulls it off. You had more fun than you thought you would, so you say, “Let’s do it again!”

The Colorado quartet’s current release, the cleverly packaged Punchline, on Austin’s Nine Mile Records, is all musically over the place. Each track calls up a different genre tag — folk, punk, pop, gospel, blues or rock — or any combination of them. Each vocal treatment conjures a different voice from your melodic memory, be it Andy Summers howling out “Mother,” a smoke-enveloped Tom Waits hugging the keys or even the Irish whiskey-driven sharp wit of Denis Leary. In unskilled hands, this could end up as a big hot bowl of bile. The fearless boys of the Boulder Acoustic Society — equipped with violin, accordion, standup bass, percussion and the occasional ukulele — bravely deliver it all polished brilliantly. They once covered the Miley Cyrus song “Party in the U.S.A.” with Danielle Ate the Sandwich. Now that’s brave.

This article was originally published in Eugene Weekly, August 12, 2010

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