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

Well, That Was Technically A Show

So usually when I really enjoy a show I write a blog post about it. But what about when a show is mediocre? I never write about it. Until now.

I'm pleased that Grand Avenue Dunn Bros. has live music. So very many places I used to play are shut down or don't have music. (R.I.P. Professor Java's in Hastings and Java Hut in River Falls - two of my old favorites.) I'm not as thrilled that they have WiFi, which lends itself to scenes like this:



Having seen this photo (taken last week) I was not excited about the potential audience for this show. Laptop slaves. Been there. Am there right at this moment kinda, but at home. Karl and I got to the place and there was a couple in some deep discussion at a table on the stage. We set our guitars down near them and they didn't move. Eh. Fine. We had like an hour before starting. I already felt hostile toward any potential stranger audience and they could all just fuck off. Not a great frame of mind.

Eventually the couple left and we got set up but no matter how much I goofed with the equalisation knobs and sliders everything sounded boxed in and mid-rangey. We started quietly with "Pale Blue Eyes" and I felt like there were so many other songs I would enjoy playing but I couldn't think of them. Longtime GUH fans will be familiar with those shows where we are not particularly sincere and laugh at ourselves a lot while strangers look on in pity, confusion, or disgust and longtime GUH fans are mildly entertained or perhaps merely resigned. This was sort of like one of those.

Karl made a remark about a PBS telethon and that caused me to depart our set list and begin to play "The Boxer" for which I forgot the words. I have played that song dozens of times and the words always come to me and I feel alive in the song. Not this time. No one seemed to get the joke of "PBS always plays Simon & Garfunkel's Concert in Central Park at pledge time" either.

This is where not doing any preparation for the show also hurt us. With a rehearsal or two we could have done new songs I'm really excited about like "I Am The Devil" or "geez I can't even think of one when I'm sitting here three hours later" I guess I would have liked to play "Good For A While" especially since Scrappy Pucker of the Mississippi Seven was there, although in her humility she had her flute hidden in a large bag so we didn't see it and we thus didn't even think to ask her to come on up.

Doc's Kids played and they were good. The contrast between BPZ, calling on people, even strangers, and getting everyone smiling and singing along, and me, standing perfectly still and looking at a high spot on the back wall, is tremendous. I did have fun playing along with DK on casaba and claves. Karl's trombone solo on "Peru" was epic and rhythmic, a fun contrast to his short, tasteful, melodic solo at the Acadia last week. Sitting back down, the sound was boxy and mid-rangey out in the room, though, a far less welcome contrast to the Acadia show, where the sound was great.

(Oh, I would also have liked to play "The Wicklund Rose". That's the one I was trying to think of earlier. But I didn't rehearse it. Or anything. In fact, except for a brief GUH set at the Acadia, I hadn't even played a steel string acoustic guitar in months. All this shit is my fault, btw. In fact most of it is probably just in my mind.)

For GUH's second set Karl was making some jokes as I started Isolation For Christmas and I couldn't stop giggling. I heard some laughter in the audience during that song, which was strange but good. We finished with Powerful Statement and it was over. We were supposed to leave time for Doc's Kids to play another set but I guess we went long. They only played two songs after that. This has been a tough year for the Doc's Kids Toys For Tots Drive for a lot of reasons and I think the performers were kind of wiped out tonight. Still, it was great to see my friends. And there's one show left, for which I think I'll rehearse a bit if I can get time in the next two days. Should be good. Potentially redemptive. You should go! Facebook Event

Oh also I've had a sore throat and something I ate for dinner was not agreeing with me. (Still not.) So if you were there I'm sorry you didn't catch GUH at our best. If you weren't there, well, you picked the right one to skip. Whoo! See you Friday.

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

The Secret to a Great GUH Show

Some variation on "Great GUH Show" is, I believe, the most common headline at this blog. Tonight we played at the Bean Factory (proudly serving J&S Coffee) on the south side of Randolph Avenue just east of Snelling in St. Paul. The young man working there welcomed us to the place and got a space cleared out for us to set up. It doesn't seem like that would make such a huge difference but it totally does. I've played places where everyone working there seemed to feel that the music was a nuisance and this was the opposite of that and I appreciate it.

We had enough people show up that the place was full. There were always people paying attention and enjoying the show. People requested stuff we knew and stuff we wrote. A kid requested several songs I knew from my days as a guitar teacher and I mumbled my way through Heart Shaped Box and explained that being a guitar teacher in the 1990s means that I know all the guitar parts for that song but none of the lyrics.

Karl played and sang great. We rehearsed for a couple hours before the show and went back to some rarely played stuff off 1997's old man will travel, our first CD. We did pretty strong versions of our recent Christmas material. We did the minute song, holding the final note to make it exactly a minute, watching the second hand of the clock near the stage, a live variation on the tacked-on, backwards intro of the recorded version. We finished with We'll Go On Forever, Foreign Movie, and finally Powerful Statement. We had people that weren't previously acquainted with us buy the Toys For Tots CD, raising $48 in cash and checks and taking home a big box of toys.

Modest goals perhaps, but they were thoroughly and well met. (I'm listening to Elvis' "So Close, Yet So Far" right this moment, my iTunes set to shuffle, and it occurs to me that I should use a delayed electric guitar obligato sometime. That descending riff in the right channel on the chorus is such a cool sound on that song. So is the descending, delay drenched electric riff in the Monkey Eat Monkey version of Flip Nasty's "No One Could". Anyway...) The place was relatively small, but it was a great GUH show and afterward Karl and I stood out by our cars talking about what makes a great GUH show and to some extent it's the music but we can play music alone at our houses. What really makes a GUH show great is the people.

So! Sincere thanks to everyone who came and supported the live music scene that matters most to me - my own! The staff of the coffeshop who welcomed us, the totally unexpected, spontaneous man (also named Karl) who opened our show for us singing That's Amore with his mandolin and telling us about his experience moving a piano and a truck, the people who enjoyed our music and supported the Toys For Tots drive, and of course my man Karl who set it all up and played his heart out like he always does.

And we'll see you tomorrow night! (Incidentally, I'm going to try to recquaint myself with some of the material we tried tonight that didn't work as well as it could have. I'm thinking here of Foreign Movie and Bass Guitar.) Sunday, November 29, 5-7 p.m., Eden Prairie Dunn Bros. at the historic Smith-More House. Full information. See ya!

p.s. Here's something extremely weird. Our old man will travel CD is available from resellers at amazon.com and people are trying to get $40 and much more for it. I have two questions: a) Why? and b) Are people actually paying these prices? I have sent the following e-mails to the sellers:

Hi (seller name),

I am in the band that created this CD. Just out of curiosity, are you actually selling any copies of the CD at these prices? I notice a lot of people selling it for a lot of money and am wondering if there is some collector market for it that I am unaware of or whether it's some kind of marketing strategy? Just wondering. Thanks.

Memphis

I'll keep you updated when I hear back.

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.

And Another Show

A totally packed room of family, friends, and strangers watched a double bill of Doc's Kids and Great Uncle Helmer last night at St. Paul's Dunn Bros. Grand Avenue benefiting Toys For Tots. It was a really good show and by the end of the night there was a huge pile of donated toys. Chazz Vader gave me a big box with Star Wars lithographs, badges, and emblems for my birthday. I didn't open the individual boxes in the cramped confines of the Grand Ave. Dunn Bros. There are three and I think I'll open them gradually, savoring them over the course of the weekend.

Doc's Kids were great, of course. I think Tom Adams was particularly on tonight with his drum. I always want his vocals a little higher in the mix, too, but they weren't tonight either. Brian was dressed in a black smoking jacket and sunglasses. He was great. Tough act to follow. In trying, GUH played:

Ring-A-Ling Ding Ding Ding (good - the capo on fret two is the way to go live.)

California (which got some attention, as it does, but felt a little tired to me. I've realized I have trouble holding the high "a" steady as I wind up through the final, somewhat complex chord pattern. Karl was really good on harmonica.)

Behind The Curtain (on which we encouraged people to sing along yet forgot the second verse momentarily ourselves. It actually seemed kind of synchronized. We forgot the same thing at the same moment.)

Isolation For Christmas (which I explained, to avoid some of the disdain that greeted the song last year, as being about staying home with the people who are really important to you.)

Xanadu-Yeah (slow version)-When Will I Be Alive?-Introducing The Door (good)

Kansas City, Nebraska (where my bass solo continued to improve)

Cub Cubota (Karl didn't sing any of the whoa-oh-oh for some reason.)

Ron Cey (which went great, but felt a little long and repetitive, like "Here's this guitar riff I'm playing. Next I'll sing that line about feelings...here it comes...now I sang that line and am playing this little fill around e minor 7" Which is another way of saying it went very smoothly. I was almost not there for the performance in a way.)

If You Can't Fall In Love At Christmas (I missed several chords on this challenging "hot jazz" number, but no one would know. Karl was great.)

POWERFUL STATEMENT (sadly became a train wreck as I forgot all the words for the last four choruses or so. Karl understandably gave up on the cue cards and I apologized.)

Overall I was having trouble hearing my guitar and my voice. Karl's guitar was quite loud in the monitor to my left. I was kind of growl-singing for much of the show. I was overplaying the guitar and worried about breaking a string. I used Brian's mike stand, which is straight up and down - not too good for playing guitar. If I had it to do over (and I imagine and hope I will next year) I would switch it out for a goose neck, even if we lost a minute or so. I realize we forgot Car Of Jonas even though Jonas was actually there. Crap. All of these factors did nothing to make the show less than good and really fun. We had some people hear us who wouldn't have heard us otherwise, and raised quite a pile of toys. Good enough!

If you are in St. Croix Falls, WI on Saturday you have your last chance to catch GUH this year.