Now THAT was a GUH show!

Well that was awesome. I really enjoyed that. In light of the less-than-totally-successful Great Uncle Helmer portion of the joint show last Tuesday, I took a half hour or so today and dedicated myself to the success of this all-GUH, two hour night at J&S Bean Factory. I made a set list and printed out lyric sheets for the two songs I didn't have memorized. I organized the instruments and gear I would need. Seems simple, doesn't it? But sometimes I forget or neglect these easy yet important steps.

Unlike Tuesday, the staff cleared the space for us and made us feel welcome. We had enough people there that the place (which is cozy) seemed about half full, then a few more people showed up. So it was totally worth us setting up and playing. (U.T.) the people who were there were enjoying the music, not just the free WiFi. (U.T.) we had plenty of time to plan and execute a set list that ebbed and flowed with the true lifeblood of GUH, now a twenty year collaboration.

We started with Chimney and (U.T.) didn't somehow forget the words of our most oft-played song. We got a good sound going (U.T.) that was appropriate for the room, but not killing anyone. I felt comfortable singing into my microphone. I gave myself a little bit of echo just so it wasn't the dry sound of a banquet toast and I could hear myself and Karl clearly. We started by playing eight straight songs we know very well, right off the set list. It sounds so basic when I put it like that. Of course! Why wouldn't that be a good show? Duh!

We brought up our special guests Scuffy and Scrappy Pucker on banjo and flute and they were terrific. I played bass and Karl played guitar. Two-Dollar Bill Turner was missed at the show but we played a 10-12 minute version of his Total Peace that almost made up for his absence. Here's the crazy thing: Even at 10-12 minutes, it was NEVER BORING. Sometimes I look at a Grateful Dead live CD, I get disheartened just by looking at the track times, and I take it back to the library unheard. (Europe '72, I'm talking to you.) This was not that.

At the beginning of the song Karl said he didn't know it on the guitar. I told him play C and G, but up two frets but with the open strings still ringing out. Done. I sang the two verses in the wrong order but it wasn't an issue. Scuffy started the soloing and we all sat back and answered him when it was appropriate. I stomped on the floor and reduced my bass part by several notes to leave lots of space.

Later in Scuffy's solo I played a long, ascending e dorian scale on whole notes, building tension much like the choir towards the end of the Stones' You Can't Always Get What You Want, only with answer and commentary from my mates. I sang along with my bass part off mike. I got to the highest note on my bass (D) then bent up to reach the E that is the song's key center. It all sounds rather dry and intellectual in these music theory terms but it was really quite thrilling and I was on the verge of shouting. I looked at Karl to end the soloing on a high note and start the vocal, but he was looking at Scuffy. That actually happened several times, to the benefit of all concerned.

Scrappy took a solo spotlight for a while and it was great to hear some extended ideas from her as it rose and fell and rose. Then Karl played probably THE finest guitar solo of his life to date.

Once late at night many years ago we were sitting around mocking and laughing at a guitar solo Karl had played during a show and when the laughter subsided he quietly said, "Justin...when I was playing that solo...I felt...like I had wings." It was the perfect thing to say and we just about got kicked out of the Faribault 24 hour Perkins for laughing. Well tonight Karl made good on that boast and I think we ALL felt like we had wings.

We played a Good For A While that I wish I had on tape because I accidentally hit the perfect wording for the last line before the title in verse three but now I can't quite think of it. (And I think we'll be? And I wanna be? bet we'll be? And I think we could be? Dammit. I don't think I'd even recognize it now if I did remember.)

The Haiku joke was much more successful than it's been in previous years with people actually paying attention, Karl really building it up, and me telegraphing it a little more.

We nailed the complex old favorite Velvets and Karl played a mind-bendingly perfect harmonica solo on "The Wicklund Rose". His New Song Showcase number "She Called Him A Dark Poet" had people laughing at every single line. I then asked him to play Don't Remember Me, one of my top five favoritest Kaptain Karl Kompositions. I stood back up and we rocked Shadowy Figure so hard my foot literally stuck to the floor. My New Song Showcase "(Don't Worry About) The Disco" was just as good a performance as it was on my birthday but this time everyone in the room was paying attention. Ring-A-Ling-Ding-Ding-Ding and Behind The Curtain (by kind request) enthusiastically ended the show almost on time.

Thanks to everyone who came, listened, played along (S.P & S.P), donated toys, and took CDs. Thanks to the woman who videoed some of the show (wish I knew where that was going up) and told us we were good. Thanks to the staff at J&S Bean Factory. Thanks for J. Bell for tirelessly organizing the Toys For Tots drive every year. Most of all thanks to Karl for setting up this particular show and playing it like a champion.

Complete Set List

Really Fun Show

Really fun show tonight (actually last night now) at the Acadia. (It's all for the 2011 Toys For Tots drive and there are a few shows left. Great Uncle Helmer and Doc's Kids at Grand Ave. Dunn Bros. in St. Paul on Tuesday Dec. 13 at 8 p.m. and Great Uncle Helmer only on Dec. 16 Facebook Event. Bring a new toy or $10 and get an exclusive CD featuring several local artists.)

Tonight began with Mischa Suemnig, who I had never seen live before. He was really good and I'm glad I showed up early for his set. It continued with Doc's Kids, who were out of their minds great. They struck the perfect balance between antics and musicality. They also made clear that vulgar language would be acceptable on this night, which I always enjoy.

Next up was Shotgun Johnson & The Mississippi Seven, in yet another configuration we've never done before and likely will never exactly do again. Tonight was (counterclockwise):
J. Bell: bass
Srappy Pucker: flute
Kaptain Karl: guitar and vocals
Memphis Evans: ukelele and vocals
Scuffy Pucker: banjo and squeezebox and vocals
Two-Dollar Bill Turner: keyboards and vocals

Drums and cover tunes are banned at The Acadia and we enjoyed their commitment to quiet, original music. I personally got really into Good For A While and sang it absoluetly perfectly. (I can say that, can't I? It's my song. I think I get to decide.) I usually unintentionally goof some lyrics but I did not. I think I conveyed emotion with my music, which I don't always do.

I prefaced Hey Where My Shed Done Gone with the country authenticity story. I prefaced The Devil Is Knockin' At The Door by saying it was our gospel number. On the latter I didn't play an instrument and my phrasing was all over the place but in a good, conversational way that suits the song. I could see and hear people respond and enjoy the humorous yet passionate song.

I really enjoyed sitting next to Scuffy and sharing an amplifier. (I was using his uke as mine does not have electronics.) On the songs I didn't sing, especially Total Peace and Don't Be Dumb, we really had some musical conversations going. It was very satisfying. Everyone wants more banjo and uke interplay in their music these days, right? That could be all over the radio for all I know or care. (Thankfully I have a CD player in my car now and have been obsessed with Beethoven Symphonies 1 & 6.)

Then Sarah VanValkenburg played a good set of original material she developed with the help of J. Bell who, in addition to doing all the hard work for this T4T thing every year, taught guitar before becoming an attorney. Karl and Justin and I sat right up front and, while we were chatting because we don't get to see each other and catch up as often as we'd like, we were certainly enjoying the catchy tunes.

Karl and I played next as Great Uncle Helmer. After Chimney Karl went in to some spooky weird sounds that were hilarious and inspired me to play Winter Ghost, which people responded to well. I've played that song so many times I don't really feel the words anymore (the song is old enough to vote this year) but I did enjoy playing the guitar parts and having people obviously enjoy it.

As GUH always do with Toys For Tots shows, we did New Song Showcase, since Karl and I basically play only these few shows as GUH nowayears but we both still write quite a lot. I did "(Don't Worry About) The Disco". I felt it so very strongly I was tearing up a little and I had every word memorized and flowing out of me. I fingerpicked it in C, very different from the daffy recording I made last year. I felt as though if someone were to pay attention to my performance without any distractions they would understand something very important about me. It's not necessarily true but that's how it felt.

I do not always feel that way. During some musical performances I feel confused, secondary, misunderstood, disconnected, or intentionally hidden behind a mask. During others I am merely a technician, a vessel, a sideman, a hired hand in the background, or sometimes all of these things at once. But tonight during Good For A While, The Devil Is Knockin' At The Door, The Disco, and even Hey Where Mah Shed Done Gone, people had an opportunity to see me as real and as pure and as good as I get.

We finished with California, No Time To Kill, and Don't You Need Me with all of MS7 and DK onstage. I played bass and something about the bass, amp, and microphone gave me a shock when the band dropped out and I tried to sing the first line of California. Instead of "Went up on the mountain" I cut loose with a very naughty word not heard from me onstage since Urban Rust played a poorly thought out bill with Amish Armada. (***********r)

So it was a great start to the 2011 Toys For Tots drive and I'm hopeful we'll have similar moments at the remaining two shows. Thanks to everyone who came out and gave toys, everyone who played music, and especially J. Bell for setting it all up and unknowingly taking home the half dozen Urban Rust CDs I sneaked into the toybox. Ha ha!

Mississippi Seven setlist:
Ghost Train D tr
C'mon Lizzie G bo
Kansas City, NE C tr
(Let's All Get Drunk In) St. Paul D wa
Good For A While G da
Illusions of Banjeur G tr
Into The West D ba
Hey, Where My Shed Done Gone? A ca
North on the Soo Line C wa
The Devil Is Knockin' (At The Door) G sw
Total Peace e dorian so
The Rainmakers C ca
Don't Be Dumb G tr
Between the Weather and the Scores C ba

tr = train
bo = boogie
ca = cajun
wa = waltz
da = da...dat-da
ba = ballad
sw = swing
so = soul

Fun Show in the Rain

Around 1:45 this afternoon I loaded up my car with PA and drums and drove to Grantsburg, WI. I got there with over an hour to spare, so walked around "downtown", which was nearby and somewhat deserted, and meditated on a bench facing Memory Lake, which was where we were playing, inspiring and beautiful. Karl and Bill showed up a little before 5 and we set up as Pete arrived, then Andy. We had quite a big crowd, maybe 70 people on lawn chairs. We were at the edge of a picnic pavilion facing out.

The crowd bought food and ate. I think the money went to a charity maybe. We played well for several songs then it started to absolutely pour. We lost much of the crowd, but the pavilion became immediately packed with people. I was then sitting at a picnic bench facing away from them, as was Bill. Karl, Andy, and Pete turned around to face them. It was an interesting way to continue the show.

We didn't play our entire set, which was fine. Karl picked the songs for the most part, and we skipped "Gone To Stay", "Devil", and "Muddy Water", which made sense as I was facing away from the crowd. Also, my throat was a little sore. We did do "The Day", which showcases my vocals and got a big positive reaction. "Total Peace" and its extended electric banjo solo drew much deserved post-solo clapping from the attentive crowd. That's always cool. We wrapped up with "Into The West", which now features a swooping bass riff I love to just sit still and listen to.

The people that stayed around in the rain had a lot of fun and we did too. Thanks to the organizers of Grantsburg's music in the park series and thanks to my bandmates and all who came to listen.

Really Great Mississippi Seven Show Helps Raise $1200

I loaded up the car and left around 2:30. When I got to the Franconia Sculpture Garden around 3:10 I realized I had plenty of time so I walked all around the snowy, expansive art space and was transported and edified by it all. It was quite wonderful. I did not realize how many smaller works there were there, complimenting the giant ones you can see from the highway.

I got to Hog Wild, a terrific barbecue joint and meeting hall (pun intended), around 4:30 and someone kind directed me to the room we were to play in. It was big – bigger than the rooms J. Bell usually books and all I had was my little coffeehouse PA. I set up everything I could and hoped for the best. Karl arrived around 5 and the rest of the guys trickled in over the next hour. Karl and I discussed the PA and I realized I was in a similar setting to the J. Bell shows but a very different situation requiring a different kind of show. It was all going to be fine.

Who all was there? The entire band, along with friends and family, and a totally packed room of excited people of all ages. During our first set kids were breakdancing, adults were normaldancing and singing along, and the band was playing great. We had plenty of space, adequate time to set up, soundcheck, and eat dinner. It may have been our best show yet, in fact I'm fairly certain it was.

During soundcheck Karl announced that his new "Ballad of Iver's Mountain" was in G. In rehearsal on Tuesday it was in D, which I knew because my chorus harmony starts on the high tonic (a.k.a. the note D in the key of D) and while D is within my range, G is pushing it. I said that it had been in D on Tuesday. He disagreed. I said, "It's no big deal. We can do it in G," strongly implying that's not where it was Tuesday without going in to how I knew that for sure. He diffused whatever tension may have been arising by saying, "Just let me have this one." I laughed and said "Okay. Cling to your sweet illusion." It sounds like I was being snotty, but it was good natured.

When we played "The Ballad of Iver's Mountain" the response was tremendous. It was a little like Johnny Cash playing "San Quentin" at San Quentin or "Folsom Prison" at Folsom Prison. We sang chorus after chorus and so did the crowd. Images of quarries and rocky, dusty explosions played on a video loop projected onto the wall behind us all night. Strangely, some of the quarry images were very beautiful and some of the images of Iver's Mountain as it stands were sort of generic and dull looking. It was not terribly effective as propaganda but Karl's mom said it made some interesting juxtapositions with our lyrics. We ended up playing "Iver's Mountain" a second time for an encore at the very end of the night, around 10:15 or so.

On "California" I held the last note as long as I could, which got to be pretty long. I pretend-collapsed and Pete, reading my mind, came over with my coat as a James Brown cape thing, which was cool. I threw it off and cued the last few notes.

"The Devil Is Knocking at the Door" was very effective. I did a bit of a Devil voice, overdid the deadpan laconitude of the Memphis voice, and spoke as clearly as I could. I saw that Karl's mom and cousin were listening and laughing, which made me care even more about the debut live performance of the tune.

On "Loving You" Pete played the drums, wailing on the snare on beat one. It was mercilessly weird and totally inappropriate but that was okay. Andy played drums and I played bass on "Theme From Honigman" which minor rearrangement was a great spur-of-the-moment suggestion by A. Hon. I got to stretch my legs and dance a bit and he is no worse on the drums than I am. "Total Peace" became a showcase for Pete's electric banjo and its conversation with my drums. It was an awesome jam and ended our first set on a definite high note.

Shortly before the end of the first set Bill's keyboard somehow reset itself, eliminating the piano sound and leaving him with only a synth horn patch to play. Technical wizard Bill programmed a new piano sound during the set break, reminding me of his similarly day saving rescue of the DVD player at one of our Cafe Wren outdoor shows, which gave people the option to remain after our set to watch Kung Fu Hustle and be eaten alive by mosquitoes.

The second set had substantially fewer people and I'd lost a meat raffle (which I entered to support Bride on her Atkins diet), blowing six bucks. But I'd had more beer, generously purchased in pitcher format by Pete, and a six dollar second helping of barbecue which I only pretended to pay for, so it was good in its own slightly drunk way. Between the opening vocal notes of "There Stands the Glass" and putting the hammer down on the song proper I paused to stick the lyric sheet on my kick drum, then dropped one of my brushes by accident, then mentioned that I couldn't honestly say any drink was my "first one today". It was funny. To me.

A delighted one year old came up and walked among us for the last four or five songs. I gave him a drum brush and he periodically hit my drums with it but mostly just walked around and waved it and danced. It was great. I played the snare with my bare left hand. I only took the brush back for "Muddy Water" which requires my full attention and whose dynamics I took to the usual ridiculous extremes.

I had good conversations with everyone, plenty of food, drink, time to play, good response from people listening, and we helped raise $1200 to fund the campaign to save Iver's Mountain. I understand the previous fundraiser made $800, so I was glad to hear we compared well.

Another positive was that a reputable newspaper of record ran a story with a full color picture of all seven of us and a quote from Leonard "Shotgun" Johnson, our leader, saying how pleased we were to be back in Luck and helping a worthy cause. This is wonderful validation for the band, given the persistent rumors of Shotgun's non-existence. Of course, he was not at last night's show because he'd spent the night out on Iver's Mountain in a private vigil, causing his fingers to become frostbitten to the extent that he could not play his mandolin. I bought my own copy of that paper for the archives, plus popcorn, jerky, and gatorade, on the way out of Wisconsin.

Got home a little before 1 a.m. and unloaded PA, drums, etc. from car. Started "A Place Of Exile" (story 2 of 3) in Star Trek: Myriad Universes: Infinity's Prism but didn't get very far due to exhaustion. Loved previous story about T'Pol, Pike, Kirk, Sarek, and his near-twin Romulan Commander who marvelously remains unnamed. It was a wonderful night. Thanks to everyone who came out and especially to all my bandmates who worked so hard to make it as good as it was.

Check out the setlist if you wish.

Bombs Away! Take It Easy

Comments are now totally free and easy here at Memphis Evans: The Blog. I have enabled total commenting freedom. No typing of squiggly letters, no e-mailing it to me for approval first. Like they say at the Metrodome, "Obsecne or indecent clothing shall not detract from the guest experience." And it won't here either.

(Yes, that really is the first rule of conduct posted throughout the Metrodome, as you know if you've ever been to a Twins game with me. Inappropriate syntax cracks me up.)

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Someone in Shotgun Johnson & The Mississippi Seven (jokingly, if I give the benefit of the doubt) suggested we play "Take It Easy" by the Eagles. My thoughts:

I get all the Take It Easy I care to in J. Bell & Lazy Susan. Which is more than I want already. Ideally Take It Easy would be confined to a barrel and shot into the sun. And by "Take It Easy" I mean all copies of the original recording, all subsequent recordings, any and all written record of the song, including, but not limited to, sheet music, lyric sheets and guitar transcriptions. Also Don Henley and Glen Frey. A giant rocket will be erected and kept ready to exile to the sun (and, duh, kill) anyone caught playing the song in the future. I am going to send these ideas to incoming President Obama. Who will sign my petition?

Dave

btw I have The Eagles Greatest Hits 1971-1975 and I play this song in a band that has paid me as much as $120 for a single show, so I'll be first in joining in the sacrifice. This is not like some straight, celibate Pope outlawing gays and birth control. You don't play the game, you don't make the rules.

Shows! Power Ballads!

I have just added 2009's currently scheduled shows to the official Memphis Evans performance calendar. If you go to only one show this year, at this point I would recommend the Mississippi Seven show at Hog Wild on Feb. 28.

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Power Ballads were a dollar off at Target this week. I've had my eye on this CD for quite some time and $7.99 for all that rock...just felt right.

One Of Those "Really Great Show" Blog Entries

Had a really great show at the 400 Bar last night. Blue Sky Divide, an acoustic duo featuring old friend Matt Braaten and new friend Paul Boruta, graciously asked Shotgun Johnson & The Mississippi Seven to open their triumphant return to the Twin Cities from California. Sound was really great, thanks to an excellent substitute soundman.

I played guitar and sang because Karl was performing as an emergency substitute Willy Wonka at New Richmond, WI's Old Gem Theater. Scuffy, Two-Dollar, and A Hon rounded out the band most excellently. We missed Collaborato, Kaptain, and of course Shotgun, but what we lacked in manpower we made up for in energy and an enthusiastic crowd that was really there to listen to the music.

"Total Peace" challenged me as I embarked on a beer fueled interpretive dance, stopping just short of making bunny ears behind Two-Dollar as he sang his masterpiece-to-date and played my guitar. "California" was also a lot of fun and I even threw in a little Jesus Christ Superstar quote in addition to singing all the regular lyrics in the right order. "Illusions of Banjeur" was played twice as our initial attempt was deemed too slow and the crowd actually demanded the fast version. That was sweet. "Gone To Stay" closed the set on a high note, with everyone soloing and me jumping up and down.

Blue Sky Divide was really great. I knew I liked Matt's songs, and Paul turned out to be a really great writer as well. Their show was tight with really great, strong harmonies. The rest of the crowd loved them as well.

To look at the entire setlist and any other special information, check out the decidedly text-intensive, internet 1.0 page regarding this show here.

On a sad note, I forgot to grab my remaining website-advertising flyers when I left, so these limited edition flyers featuring otherwise unreleased lyrics on one side and scintillating information on the other are now gone and I don't even have any for the archives. I'll have to run to Kinko's before the next big show to make new ones.

Thanks to BSD for setting up the show and inviting us to play. Thanks to all the music fans who gave us so much energy. And of course, thanks to my bandmates for showing up and playing like champions. Total Peace!

Mississippi Seven Triumphant on the West Bank

Had a great Mississipi Seven show tonight at the Acadia Cafe in its new location at Cedar-Riverside. (Setlist and details) Scuffy Pucker, Two Dollar Bill Turner, Me, Collaborato Punxatawney, and A Hon made up the group tonight. I played my new acoustic guitar instead of drums because Kaptain Karl was singing with his barbershop group at the Wisconsin Governor's fishing opener, which was held indoors because of inclement weather. (The Governor drew a little plastic ducky with a "64" on it and was given a teddy bear.)

Sound was good and the band right before us was really great AND they hung around to hear our set. I will be checking out their website and the CD I traded with them for. "Inching Away" was a highlight, but it is slated for their NEXT album. Oh well.

I had some trouble hearing lyrics from the first two bands so I worked really hard to enunciate clearly, as I had lead vocals on eight of eleven songs tonight. I really felt like I was making a connection with people when I saw smiles and laughter. Duh. It's so simple, but so rare with most bands. All my bandmates played great. I had to give Scuffy an extra time through the pattern on "Gone To Stay" because I could tell he was just starting to warm up and indeed he was really rocking the banjo by the time I brought the Memphis verse back in. Scuffy and Collaborato had an epic, two-verse long accordion battle on "Boxcar" that showed me how far Collaborato has come on that instrument.

Toddler asked me this afternoon if we could play the trumpet, so we did. I realized I could play the melody from "Theme From Honigman" quite easily, so I brought my trumpet to the cafe, hid it under my parents' table, then had my dad bring it up to me after the first time through the pattern. It was really a hit and everyone was surprised, even my bandmates. I think we'll use it on any recording of that song this band makes. I even threw a little unscheduled, improvised trumpet in the background of "Total Peace" since Bill was playing my guitar.

It was so great to play for other songwriters and people who really liked our songs and heard the words and what they meant. Thanks to everyone who came to the show and enjoyed it. Thanks to the Acadia for having us and supporting live music. Thanks to Trio Tipo for inviting us. And thanks to my bandmates for hauling all that gear, finding parking, and most of all playing like champions.