Category Archives: Louisville Music History

A CROPPED OUT Summary: Or Louisville’s Best Music Weekend Ever

Hey Louisville, if you weren’t at CROPPED OUT at some point during this past weekend, you really missed something quite special. It wasn’t just that there were a buncha noisy, arty bands and rock n’ roll and whatnot. There was actually a quite palpable community spirit, evidenced by the smiles, high-fives, and general fun it seemed that most everybody had. Didn’t hurt that some of the best weather of the fall made it possible for lots of bands to play outside, too. So here’s a quick rundown of best parts of the festival, complete with crappy pictures from my cellphone.

DAY 1 — FRIDAY, NOVEMBER 11th: Though it got started way early on Friday afternoon, and there was some noise issues early on, Friday was a good start, especially for the Louisville bands on the bill. SAVAGES played immediately after LEARNER DANCER, both of which brought forceful, guitar-heavy rock (the former more in a pop vein, while the latter mined some heavy Sonic Youth-style dissonant territory).

Shedding

One of the early Friday highlights was, of course, Louisville’s SHEDDING (disclaimer: Connor and I are buds, but even if we weren’t, I’d still love his music). Despite his talk of being influenced by RUSH, Connor really brought more of a CURRENT 93 vibe, perfectly mellow yet eerie.

Shit & Shine

Another Friday highlight was Austin, Texas’s SHIT & SHINE, which featured none other than the BUTTHOLE SURFERS’ KING COFFEY on percussion. Tribal, BOREDOMS-esque throb with synth squiggles and CB radio nonsense. Totally fun.

Other Friday night highlights included (in no particular order):
1. apologizing to KING COFFEY for talking his ear off at SxSW ’07
2. MOUNT CARMEL — and the revelation afterwards that KING has never seen ZZ TOP!
3. bonfires (more on them later)
4. hangin’ with MV + EE‘s dog Zuma
5. SHIT & SHINE‘s bunny suits
6. MV + EE singing “Fire on the Mountain” at the end of a fantastic set backed by TIM BARNES and CHRIS from the CHERRY BLOSSOMS (thanks for the beers!)
7. Locals ALCOHOL PARTY, NATIVES, ANWAR SADAT, and AXEL COOPER showing how it’s done
8. Chorizo taco from the Holy Mole Taco Truck
9. Good times with friends old and new
10. Beer

DAY 2 — SATURDAY, NOVEMBER 12th: Saturday started inauspiciously as I showed up to the venue, the CRUMMY DEN, way early, so I wandered over to the FLEA OFF MARKET (where I bought an excellent book of photography from Louisville Hardcore’s poet laureate, Mr. BRETT EUGENE RALPH), then had lunch at the Blind Pig. Missed most of the early sets due to some errands I had to run, but caught a little bit of VIDEO DAUGHTER, who were okay.

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CROPPED OUT is one week away!

Holy smokes, folks! Time flies when you’re… working, eating, L-I-V-I-N’ in the Louisville these days. CROPPED OUT is nearly upon us! That means what will be Louisville’s best weekend of music (like you thought I was gonna say “Forecastle?”) is just a week away! (You can read our previous preview here: https://othersideoflife.wordpress.com/2011/10/24/cropped-out-is-coming-up/.)

There is some slightly bummer news as we hear that Detroit garage weirdos HUMAN EYE had to cancel (thankfully for us that means there will be no weird stains on our living room rug). But hey, there’s still lots more musical excitement for your listening pleasure. Here’s the whole lineup (our “picks to click” a la Hawk Harrelson in bold):

FRIDAY, NOVEMBER 11th — MV + EE, DOPE BODY, SUN ARAW, SAVAGES, MOUNT CARMEL, NATIVES, CHRISTMAS BRIDE, ANWAR SADAT, COUGH COOL, SHIT & SHINE, SHEDDING, ALCOHOL PARTY, AXEL COOPER, LEARNER DANCER

SATURDAY, NOVEMBER 12th — BILL ORCUTT, GUARDIAN ALIEN, PYGMY SHREWS, THE DREEBS, ANGEL OLSEN, CHAT LOGS, JOHN WESLEY COLEMAN III, NATURAL CHILD, LAST YEAR’S MEN, SAPAT, TROPICAL TRASH, MAYOR DALEY, THE MEN, FAT HISTORY MONTH, CIRCUIT DES YEUX, JOVONTAES, ANGELS IN AMERICA, ARCANE RIFLES, CROSS, VIDEO DAUGHTERS, BLACK GOD

SUNDAY, NOVEMBER 13th — SCRATCH ACID, YOUNG WIDOWS, COLISEUM

Check it out at the following internet spots:

Facebook event invitation: http://www.facebook.com/#!/event.php?eid=251887664858861
Official website: http://croppedoutmusic.com
Official tumblr: http://croppedout.tumblr.com

See y’all there!

UPDATE: CROPPED OUT has posted the festival’s entire schedule here: http://croppedoutmusic.com/fest/#schedule.

CROPPED OUT is coming up…

We haven’t had too much to say about the upcoming CROPPED OUT festival, on the weekend of November 11th – 13th here in lovely Louisville, Kentucky, because it seems like it’s all anybody can talk about anyway! I mean, can you believe freakin’ SCRATCH ACID is gonna play?* Me neither, and I’m really stoked!

But the CROPPED OUT fest is far more than just one band. It’s a whole mess of ’em! Including some of our favorite performers ever:

  • BILL ORCUTT, former guitarist for HARRY PUSSY, and one of the most exciting purveyors of six-string nonsense (even though he only plays four strings, apparently) going today.
  • MV + EE, the duo of Matt Valentine (formerly of THE TOWER RECORDINGS) and Erika Elder is probably the closest you’ll get to seeing Neil Young live, except perhaps even more damaged. And rumor has it that former TOWER RECORDINGS member TIM BARNES will be joining them!
  • MOUNT CARMEL is probably our favorite of the new SILTBREEZE roster — straight-ahead Ohio-style boogie rock!
  • HUMAN EYE might possibly be the best rock band in Detroit right now. Period.

And there’s a whole slew more, including lots of shit we’ve never heard of before! And a bevy of fantastic local artists, including our friends SAPAT, YOUNG WIDOWS, SHEDDING, COLISEUM, CROSS, and lots more!

They got a new web site up at http://croppedoutmusic.com, so check it out and buy your tickets ASAP.** It’s gonna be killer!

*On a side note, how come nobody got it together to bring THE JESUS LIZARD to Louisville during their recent reunion action? Just because Laura Shine has no idea who they are doesn’t mean they weren’t one of the most popular Chicago-style bands to play in Louisville during the 1990s. Our excuse for not booking them is, well, we were too poor to afford their guarantee (as if our shoe-string show budget wasn’t obvious).

**Seriously Louisville, if you sleep on this like you slept on TERRASTOCK 2008, you only have yourself to blame. The prices are good, the venue is centrally located, and if you miss it…

DISCLAIMER: We are buds with Ryan and James who are booking/promoting CROPPED OUT, and we think they’re awesome! We do occasionally co-promote shows with ’em but that’s only because they rule!

Two Great Shows This Weekend!

Louisvillians have the rare treat of two really great shows this weekend. Here’s information on both of them:

CEREBELLUM (from Louisville, on Noise Pollution)
TROPHY WIVES (from Louisville/Illinois, on Noise Pollution)
THE TEETH (from Louisville/Southern Indiana, on Noise Pollution)

Saturday, July 31
at SKULL ALLEY
1017 E. Broadway
8 PM, $6, ALL AGES!

Here’s what Mat Herron wrote about the show in this week’s LEO Weekly:

Cerebellum was only around from 1988-1989, but the work of the band’s members outlasts its breakup.Three-quarters of the band went on to form Crain — guitarists Tim Furnish and Joey Mudd, bassist Jon Cook and drummer Will Chatham. The team of Furnish, Cook and Breck Pipes — an apropos furniture store name if ever there was one — now hold court in Parlour, Mudd fronts Midnite Sons, and guitarist Drew Daniel [Drew didn’t actually play guitar, but sang/banged metal objects —ed.], who designed the cover of Cerebellum’s lone cassette, is one half of Baltimore experimental duo Matmos

This past spring, Noise Pollution, who has taken up the mantle of curating much of Louisville’s older punk music, re-released Cerebellum’s first tape along with five songs — “Begin,” “Guard,” “Hurt,” “Brighten” and “Crawl Out of the Water” — recorded at Trip Barriger’s Studio K.

The special edition LP came out just in time for the band’s reunion show back in May to raise money for Jason Noble, but their proper release happens July 31 at Skull Alley (1017 E. Broadway, www.skullalley.net). The all ages show is $6. Trophy Wives and The Teeth open.

CEREBELLUM’s performance in May was awesome, don’t miss this one!

Also, Sunday night brings the following show to a new space (in the same building as St. Francis High School):

BEAR IN HEAVEN
SHEDDING
SLOW ANIMAL

Sunday, August 1st
at LAND OF TOMORROW
233 W. Broadway
7:30 PM, $7-10 suggested donation

This show was curated in part by Michael over at the Decibel Tolls, so it’s bound to be great. Don’t miss it!

Boogie Knight — Paul Major on Toy Tiger, Hikes Point and points beyond

(Photo by Jeff Winterberg)

A short interview I conducted with the one-and-only Top Dollar, aka Paul Major of Endless Boogie, ran in this week’s LEO Weekly. Check it out here:

Louisville native, record dealer and guitar genius Paul Major of Endless Boogie chats with LEO Weekly about growing up in Louisville and about Endless Boogie’s second full-length record, Full House Head, due out July 20.

LEO: Talk a little bit about what memories you have of Louisville, especially concerts you saw or buying records.

Paul Major: One of my earliest memories is the sadly gone Toy Tiger sign at Bardstown Road and Goldsmith Lane. I grew up near there. I was in grade school (when) I heard my first fuzz guitars in 1966. As a kid, I went nuts, and my entire gear shifted. So every Saturday with my lawn-mowing money, I’d head up Bardstown Road and go to the head shops and the used record stores. Like Rivertown Records, I remember being one of the first ones. Just went up there and bought every obscure, weird-looking record I saw that might simulate what it was like to be trippin’ out. I remember getting my first copy of (the 13th Floor Elevators’) Easter Everywhere for 27 cents.

But the main difference back then was radio. That was a time when every genre of music competed on Top 40 radio, and you’d hear Deep Purple next to Frank Sinatra next to the Mamas & the Papas next to Claudine Longet. I remember that (Texas International recording artist) Bubble Puppy had a No. 1 hit in Louisville with “Hot Smoke and Sassafras,” and that was kind of a dud elsewhere. I used to sit with the AM transistor radio with little notebooks, and I had all these different categories for tones of the fuzz guitars.

LEO: Tell us about the new record, Full House Head. It’s not a huge departure from the first Endless Boogie record, Focus Level, which means it’s a good rock record.

PM: (One difference with Full House Head), it builds up a little bit with the guitar parts. It’s a little more just being totally spontaneous, but then throwing in some other stuff, with a couple of catchier numbers on there. It’s on No Quarter, so we’re looking forward to that. I just saw the cover art when I got back from Europe. People that have heard it so far are enthusiastic. (It’s an) all-time record for Endless Boogie: only two years to get something done.

Full House Head comes out on July 20th, on No Quarter. The full transcript of the interview will be posted soon.

THE WEB, PHANTOM FAMILY HALO, SOFTCHEQUE at The Vernon Club, Saturday, June 12th

THE WEB
PHANTOM FAMILY HALO

SOFTCHEQUE

Saturday, June 12th
at The Vernon Club
1575 Story Avenue
9 PM, $6, 18+
“No Dicks”

Details about the show from Noise Pollution:

Completing their slow reemergence from the abyss, enigmatic Louisville legends THE WEB will be releasing their (very, very) long awaited third album, Clydotorous Scrotohendron, on June 12th. The seven song album will be released on LP with letter pressed covers by Dexterity Press. Clydotorous Scrotohendron will also include a free digital download of the album with purchase of the LP.  This will be The Web’s first release in twelve years (and only third show in the same timeframe) and features the core lineup of Andrew Willis, Jason Hayden, Steve Good, Tony Hoyle and Gary Pahler.  The release show will take place at Vernon Club (1575 Story Ave) on Saturday, June 12th and marks The Web’s return to (at least) semi-active status. Opening for The Web will be two other incredible Louisville bands Phantom Family Halo and Softcheque. Doors at 9pm. Cost is $6. 18 and over. As huge fans of The Web for many years, we are thrilled and honored to have them on the label.  Azuza!

UPDATE, 6/9/2010: LEO Weekly ran a short feature by Mat Herron on The Web, including details on the new album, in today’s edition. Check it out here: http://leoweekly.com/music/follow-plant.

The Endtables, s/t (Drag City/Alien Intelligences)

LEO Weekly ran my review of the new retrospective of Louisville’s own Endtables today:

I thought we were modern, sings Steve Rigot at the beginning of “Trick or Treat” by the Endtables, a perfect statement on life in Louisville circa 1979. Arguably the first punk band in town, their music utterly reflects the anxiety of growing up “punk,” modern, in a thoroughly unmodern place. Songs such as “They’re Guilty,” “The Defectors” and “White Glove Test” exude a nervous energy that’s hard to match. But after self-releasing one four-song single, the band broke up, with their music known to only a handful. This long-overdue collection corrects the historical record by presenting the six songs they recorded while active (on the new 12-inch EP), along with an unedited take of “Process of Elimination,” as well as six live songs — five of which were never recorded, and three video clips of the band in action (on the CD only).

Buy it from Drag City here: http://www.dragcity.com/products/the-endtables.

The Best (and Worst) of 2009

This week’s LEO Weekly contains a short top-five list by yours truly, and here it is for your perusal — Top Five Albums of 2009:

1. Blues Control, “Local Flavor” (Siltbreeze)

Russ Waterhouse and Lea Cho of Blues Control have delivered the goods with “Local Flavor” (full disclosure: Russ and Lea are friends, and I was present at their first show a few years back). That is, if the goods were super-hallucinogenic drugs that didn’t leave you damaged, but rather took you on a midnight journey through Tangier without leaving your living room. From beat-laden not-quite-dance workouts, to deconstructed guitar licks, to massive underwater drones, to ringing alarm clocks, there isn’t a record this year I’ve heard as wonderfully evocative of out-of-mind experiences.

2. Group Doueh, “Treeg Salaam” (Sublime Frequencies)

While it might put off some world music purists (and who do those jokers think they are, anyway?), the lo-fi nature of Group Doueh’s recordings are not only more “authentic” than, say, bringing the band to Paris or London to record in some sterile studio, they’re also far more joyous. Listening to “Treeg Salaam” at a loud volume, you feel like you’re standing in some Western Saharan souk, watching guitarist Doueh and company tear it up – and seeing them have a great time while they’re doing so.

3. The Phantom Family Halo, “Monoliths and These Flowers Never Die” (Karate Body)

Generally, most rock bands these days can’t pull off the sprawling double album, once a 1970s hallmark. But The Phantom Family Halo manages to do so, with aplomb. After multiple listens, I’m not entirely sure what the overarching theme or concept behind “Monoliths and These Flowers Never Die” is, or even if there is one, but this double album is executed so brilliantly, I’m not sure it matters. Hopefully the rest of the country will start paying attention to what these local greats are up to.

4. Mouthus, “Divisionals” (Ecstatic Peace!)

Back in May I wrote in LEO about Mouthus, the rackety, noisy guitar-and-drums duo of Brian Sullivan and Nate Nelson, and their album “Divisionals,” one of the mellowest, yet undeniably great albums I’ve heard this year. I even went so preposterously far as to write that “Divisionals” contains “a mysterious set of cyclic drones, which interlock and mesh within each other, much as the strands of DNA within our cells.” Well, Nate came through Louisville in August, and told me that “Divisionals” was performed on synths, a departure from their usual m.o. There you go.

5. Extra Golden, “Thank You Very Quickly” (Thrill Jockey)

Despite listening to more music from around the world than ever, I find that not very much of it is by current bands. The recent explosion of reissues of 1960s and 1970s African music is far more compelling than most new African bands, sadly. Extra Golden is an exception to that rule, and perhaps it’s because the half-Kenyan, half-American band has an extra rock element to it reminiscent of 1970s classics. Regardless, we’ve been lucky to see them twice in Louisville in the past year, and that they release consistently great albums.

Other albums that I’d have given honorable mention to, if space allowed: Bill Orcutt, A New Way to Pay Old Debts (Palialia); Sperm, Shh! (DeStijl); Sir Richard Bishop, The Freak of Araby (Drag City); Oneohtrix Point Never, Zones Without People (Arbor); Omar Souleyman, Highway to Hassake: Folk and Pop Sounds of Syria (Sublime Frequencies); Jim O’Rourke, I’m Happy, and I’m singing and a 1, 2, 3, 4 (Editions Mego); Kurt Vile, Childish Prodigy (Matador); Orchestre Poly-Rythmo de Cotonou, The Voudon Effect: Funk & Sato from Benin’s Obscure Labels 1972 – 1975 (Analog Africa); Death, …For the Whole World to See (Drag City); Tony Conrad/Genesis Breyer P-Orridge, Taking Issue (Dais).

Best Shows I Attended in 2009: Throbbing Gristle/Emeralds at Logan Square Auditorium, Chicago; Daniel Higgs at Lisa’s Oak Street Lounge, Louisville; Joe Manning/Doug Paisley/Nathan Salsburg at the Swan Dive, Louisville (full disclosure: I booked this show); Endless Boogie/Cross at the Swan Dive, Louisville (I also booked this show); Sapat/Blues Control/Softcheque/Raw Thug at Lisa’s Oak Street Lounge, Louisville; Black Juju (The Alice Cooper Cover Band) at Lisa’s Oak Street Lounge, Louisville; Young Widows/Maserati/The Genitalmen at Zanzabar, Louisville (full disclosure: I djed at this show); The Julia Schagene/Furry Bits at Jeff Komara’s house, Louisville.

Worst Things to Happen in 2009: The deaths of Rowland S. Howard, Jack Rose, Jerry Fuchs, Tony Bailey, Rashied Ali, Maryanne Amacher, Hugh Hopper, Max Neuhaus, Michael Jackson, Ron Asheton, Randy Bewley, Lux Interior, Luther Thomas, Mick Cocks, Sirone, and probably many more that I’m forgetting.

You can read the rest of the feature, including the top-five picks by the rest of LEO‘s music critics here: http://leoweekly.com/music/music-top-fives-2009.

Tony Bailey, R.I.P.

(Picture of Phantom Family Halo, with Tony Bailey on the far right, from Metromix.)

This morning, right after waking up, I read the news on Louisville Hardcore that Tony Bailey passed last night. While we weren’t close, I’ve known Tony since, shit, I can’t remember, probably since I was 15 or 16 years old, through Louisville’s punk rock scene. Throughout the time that I’ve known him (almost twenty years, as I turn 34 this Monday), I can’t think of anyone who has been as consistently kind, funny, and sweet as Tony. His smile was one of the coolest things on the planet, and I can’t remember a time over those nearly twenty years when he didn’t give me a big hug, or a fist pound, no matter where or when or in what situation we might have seen each other.

I met, and knew, Tony first and foremost through music, and even at the young age of 14, he was one of the most talented drummers I’ve ever had the privilege to witness live. As a member of Crain, Parlour, Aerial M, Verktum, Dead Child, Rude Weirdo, the Phantom Family Halo, and most recently as of two weeks ago, Black Juju, his Alice Cooper tribute band (as well as many other incredible bands you may have never heard of), Tony always inspired me with his raw power, incredible precision, and most importantly, his ultra-fantastic feel for how powerful rock drums should sound.

During the years that I lived in places other than Louisville, I was lucky enough to get to promote a few shows for bands which Tony was touring with, or occasionally see him on tours when I wasn’t booking, or if he was just visiting a city other than Louisville to see someone else play. When I returned here two years ago, I didn’t run into Tony as much I would’ve liked, perhaps due to the Louisville music scene’s fragmented nature in this post-hardcore, post-all-ages, internet-music era, I don’t know. What I do know is that, in twenty years of knowing Tony, I probably didn’t tell him enough how much he and his music was an inspiration to me, and how our friendship — however limited — was important to me.

UPDATE, 12:15 AM, 10/4/2009: From Skull Alley’s web site:

A memorial gathering for Anthony J. Bailey will be held this Sunday, October 4th from 6pm to 10pm at Skull Alley, 1017 E. Broadway, Louisville, KY

There will be an opportunity to share your stories and memories, aloud or on paper. If you cannot attend and would like something read, please Email it to fncyatb at gmail dot com All are encouraged to bring finger/appetizer type foods. No alcohol/beer will be served and none may be brought in. Beverages will be provided by Skull Alley.

Your favorite pictures of Tony are wanted and needed for a slide show, send them to fncyatb at gmail dot com

The Web, Live (Last Year)

A kind soul on the Louisville Hardcore forum hipped us to this great video posted just a few days ago of the Web performing at the Pour Haus in Louisville last year (click on the link, for some reason WordPress doesn’t like Vimeo‘s embed code). The two songs they perform are “The Handcuff Hoax” (from the “Azuza Inkh” 7″) and “Undercover Action” (a version of this made an appearance on the Louisville Sonic Imprint compilation).

If you’re not familiar with the Web, don’t fret. We didn’t write about it here at the time, but we wrote this little entry from our sister blog, State of the Commonwealth:

We can’t fucking believe it. Really. Sorry for the expletive and all, but one of Louisville’s best-ever bands — and I don’t just mean that lightly — is reuniting to play a show at the Pour Haus next week, opening for another fantastic band, the mighty (and mighty long-running) Pere Ubu. That’s right, The Web is back (description by The Web’s frontman Tony Hoyle, from show promoter/Black Velvet Fuckere/Sapat mainman Kris Abplanalp’s Myspace bulletin):

The Web, a rock band from Louisville, Kentucky, was formed in 1993. Distributed by labels Drag City, Damn Entertainment, and Ear X-tacy Records, The Web released two 45” singles, a 12” EP, and a full-length CD, “Fruit Bat Republic.” Prior to its temporary dissolution in 1998, The Web produced its magnum opus, “Chlydotorous Scrotodhendron”; the masters of these recordings have been unearthed and are set for a highly-anticipated label distribution this summer!

Among The Web’s many performances during the 1990s, it hit the road with recording artists Sebadoh, traveling throughout the Eastern half of the U.S.. Originally formed as a trio, The Web later expanded to an octet. However, most performances featured the classic quintet reforming this year: Andrew Willis on guitar; Gary Pahler on drums; Jason Hayden on guitar and bass; Steve Good ..boards, clarinet, bass clarinet and saxophone; Tony Hoyle on microphone.

Now some readers might not be convinced by that description, and that’s understandable, even if we would describe the Web as somehow a mixture of a great love for Captain Beefheart, the Stooges, the Fall, Neu!, Faust, G. Gordon Liddy, comic books, college basketball, science fiction, and well-brand liquor. Here at State of the Commonwealth, we truly believe in the “try before you buy” ethos of music on the internet, with both parts being key. So in favor of that policy, we’ve decided to upload a few tracks by the Web for you, our dear readers, to peruse at your leisure. If you like them, please do yourself a favor and see this awesome band live, next Friday the 22nd of March, at the Pour Haus. First, we have a zip file containing the Web’s first 7″ entitled “Azuza Inkh” — with the songs “Azuza” and “The Handcuff Hoax” and their 12″ EP record “The Pentagon,” featuring “Hail to the Chief,” “Rebel Yell” (parts 1 and 2) and “Five”:

The Web – “Azuza Inkh” 7″, “The Pentagon” 12″ (link disabled)

Then, as if that wasn’t enough, we’ve got zip files one song from their 1998 CD Fruit Bat Republic entitled “Tick” (a great little sorta almost Afropop-ish number) plus a live song “The Pentagon” from the Sourmash: A Louisville Compilation CD for your downloading pleasure:

The Web, “Tick” (link disabled)
The Web, “The Pentagon” (link disabled)

In fact, the only stuff by the Web that we don’t have digitized (but have on vinyl) is the “Freedom Hall” 7″. Can anybody send us that, please?

Anyway, both Fruit Bat Republic and Sourmash: A Louisville Compilation are on sale at ear X-tacy for $1.99 a piece. So if for whatever reason you can’t make the show, you owe it to yourself to pick up two great slices of Louisville music history, for super-cheap!

Because we’re nice, and because it’s nearly a year later, we’re gonna re-up those downloads, right here:

The Web – “Azuza Inkh” 7″, “The Pentagon” 12″
The Web – “Tick” from Fruit Bat Republic
The Web – “The Pentagon” from Sourmash: A Louisville Compilation