NYC

July Artist of the Month: John Keck

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Congrats to our July Artist of the Month, John Keck! Keck—who partially recorded his debut album The Jack Moon Sessions at the famed Sun Studios—depicts his personal experience in thoughtful ways, with an Americana flair. His music evokes Ozark traditions and southern rock, with a visceral emotional tinge. Read more about Keck in our Q&A.
 
The Deli: Down and dirty: one sentence to describe your music.
 
Keck: I think my music is very personal, and hopefully because of that people who listen to the lyrics can find something that speaks to them, or at the minimum they can see the image I’m trying to create, the story I’m conveying.
 
The Deli: Give me some background on your musical career. How long have you been playing music? What made you decide to become a songwriter?
 
Keck: I started playing in front of people in 2008 at open mics, and started booking shows regularly in 2010, so just a short time compared to my friends. I have a lot of catch-up to do. I found songwriting to be a therapy for dealing with my emotions, I guess it’s a bit of an escape too. In 2008 I ended a marriage of 14 years and found myself feeling very raw and exposed to life in a new way. I also didn’t have anyone to fight with anymore and so I guess I started fighting with myself. To me,  writing a song is a fight with yourself; it’s an argument between your fear of letting other people know how you feel and the desire to be honest in a public way.
 
The Deli: What inspires your music and songwriting?
 
KeckMy relationships and encounters with people are my primary inspirations. I don’t write much about the way the trees make me feel or something like that… It seems that even when I try to write about someone other than me, my personal experiences come out in my lyrics, so I don’t really try to fight that anymore and just accept that I can’t be neutral to what I observe. I would like to be better about my work ethic and writing process, to be more diligent. I don’t feel like I spend enough time on it. But I guess I don’t really like to think of what I’m doing in comparison to anyone else, even my idols. So I don’t keep regular hours, like some people I know, I let it come to me. Sometimes it’s in waves, sometimes there are long dry spells. I try to record every thought I have, even when I know it’s bad in the moment. If I think it is good, I usually remember it and can come back to it. Usually it’s in the morning and makes me late for wherever I’m going. I’m always late, I apologize to everyone, maybe I was writing a song about you.
 
The Deli: What have been your greatest musical accomplishments?
 
Keck: Being played on the radio is surreal to me. The radio was so important growing up. I don’t think people can appreciate it now. With access to the world’s known recordings on our phones, but as a kid before tapes even, anyway… it means everything to me. I think about it in terms of immortality. Those frequencies are traveling in the universe farther than I can conceive. How do you top that? I also played at the Troubadour in London, which was unreal. It’s the first place that Dylan played when he got to England (supposedly), and everyone else that you can imagine. I recorded my parts of my album at Sun Studios in Memphis, so that was kind of too good to think about—the same room Johnny Cash stood in (I sat). The radio wouldn’t have happened if the album wasn’t made. Honestly, every time someone tells me they like one of my songs I feel like I’ve accomplished something.
 
The Deli: Tell us about your debut album, The Jack Moon Sessions at Sun Studios and Chappy Roads. What can we expect?
 
Keck: I do have a debut album called The Jack Moon Sessions at Sun Studios and Chappy Roads. For the future, I’ve been writing and writing and have started working with other people to create a new album. I’m going to call it “Photo Booth,” and the songs that will be on it are written with a particular image in mind… does that make it a concept album? That title has many meanings to me, but an easily accessible idea is that I think of my songs like photographs that capture a moment with a certain light, like a black and white photograph. The album cover will explain more.
 
The Deli: What does supporting local music mean to you?
 
Keck: It’s become my passion. I try to go to as many shows as I can. Sometimes I feel like a stalker. Music is my religion, so attending services regularly at our local sanctuaries is critical to enlightenment.
 
The Deli: Who are your favorite local musicians right now? Non-local?
 
Keck: I don’t typically have favorites of anything, but I have to have a good goddamn reason to miss a Dynamite Defense show, if you hear and see Chris Tady play the guitar you’ll understand why. Also their songs have such a classic feel to them you really don’t know what decade they were written in, I like that a lot. Of course Scott Hrabko, I could listen to his music over and over again. The Silver Maggies and Potters Field: I go home after their shows and wish I could play, sing, and, write songs like them. The Philistines I think have a unique sound too, with so much intensity and drive, they have me hooked. I’m inspired by all of these groups and so many more, but I’ll blush if they read this and then we have to talk about it later. I don’t think Tady goes on the line, so we are safe there. Non-local? I’ve really gotten into Houndmouth in the last few weeks, both albums are strong in my opinion, I may have already burned myself out on them actually, but I have enjoyed our brief affair.
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Keck: I guess I should be better about dreaming big… I honestly feel like I’m living a fantasy right now, so each new thing is its own dream. I played Boulevardia last month; that was something I never considered possible before getting asked to do it. Last Saturday, I was at a dinner party with some truly talented people that I was in awe of; they took turns playing my guitar and singing their songs. We were up all night enjoying the moment. That seems like a fantasy now. But like every other person who’s ever scribbled a tune down, I would be on cloud nine opening for Neil Young, or Willie Nelson, or Scott Hrabko.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Keck: Dylan, Young, Keith Richards, John Lennon (in no particular order). I think valid arguments could be made for so many others and certainly the people that influenced those four, but just shooting from the hip, these guys created a profound impact in the culture as receivers with a true talent, then as focal points of sound that came through them and out to all of us, in ways that we don’t even know about. Blah blah, lists.
 
The Deli: What goals do you have for 2015, and beyond?
 
Keck: I plan to tour this fall, a small one of the Midwest. I’ve never really done an extended journey for more than one night, and I think that’s my next step in evolving as a performing artist. Record and release the new album. Create a band. Play as many shows as “they” will let me.
 
The Deli: Where can we find you on the web?
 
Keck: Everything I’m up to is on http://www.johnlkeck.com, including videos and streaming music.
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Keck: Listen to whatever you want to, don’t let anyone tell you a piece of music is bad or good, if it speaks to you, then it is good to you. I hear people say all the time, “that’s too poppy” or “I don’t like country,” blah blah blah, If you limit yourself to a certain taste, you create a boundary that prohibits your universe from expanding and then it’s expanding without you.
 
You can catch Keck tomorrow night at Davey’s Uptown at 9 pm. He’ll be sharing the stage with fellow songwriters Cody Wyoming and Nathan Corsi. Facebook event page.
 
–Michelle Bacon
 
Michelle Bacon is editor of The Deli KC and plays in bands.
 

 

NYC

Artist on Trial: Bad Wheels

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If you desperately seek more rock ‘n roll in your life, Bad Wheels provides an unapologetic, unrelenting dose of it. With members of notable KC groups ranging from Abracadabras to Cretin 66 to Tenderloin to Circle of Trust, Bad Wheels was created out of their mutual love of classic rock. Accented by the impassioned wail of frontman Bobby Topaz, the band unleashes a roaring two-pronged guitar attack and a mighty low end. Topaz tells us about what the guys have coming up.
 
The Deli: Down and dirty: one sentence to describe your music.
 
Bobby Topaz: Classic and loud freedom Rock and Roll!
 
The Deli: Give me some background on Bad Wheels. How did the band come to be?
 
Topaz: Bad Wheels came about a few years ago when I moved back into the area from St. Louis. Paul and Ryan Marchman were two guys I’d previously played with in a band called Crazy Talk and we decided to get together and jam and see what was there. Thankfully, we still had great chemistry and decided to make it an actual band. Brock Ginther happened to live in the space we were practicing in, and liked what we were doing and decided to come on board full-time as bass player. So, that was pretty much how it all started.
 
Since then, Chip Sage has taken over for Ryan on drums, but the overall sound/vision for the group really hasn’t changed. That’s what I’ve always loved about this group is that we have very diverse backgrounds…I was in Abracadabras and Antennas Up, Chip was in Cretin 66, Paul was in Circle of Trust and The Shaker Hoods…and Brock was in Tenderloin and the Homestead Greys. So, we all come from different styles but we all have one thing in common, and that is our love of classic rock and roll. So, that’s what we play!
 
The Deli: What inspires your music and songwriting? What’s up with the Subway song?
 
Topaz:When it comes to songwriting, we like to keep it pretty simple, honestly. We will write about anything and everything. I’ll usually come in with a riff or maybe a finished chorus and not much else, and the guys will tell me if they like it or not. If they do, we flesh it out over some Miller Lite tallboys and find out where the song is. We just want people to see us, rock out a bit, and have some fun.
 
The infamous “Subway” song is I think something that shows we love what we do, but don’t take it super seriously. When our drummer was trying to learn the songs we sent him, he thought I was actually saying… “Gimmie Some Subway”…which I wasn’t. But, we all thought it was hilarious and decided just to keep it.
 
However, in light of the recent allegations, we obviously don’t think it’s that funny anymore. We can’t be associated with all that mess. Thankfully, we recorded the original as well because we didn’t know if we were even going to release the other one. So, the Subway song is never going to be played again and we now are forever Goodcents men.
 
The Deli: What have been your greatest accomplishments as a band?
 
Topaz: So far I’d say just staying true to our sound, even though it’s not a sound everyone always likes to listen to. Now, after almost 4 years we’re finally starting to get some traction and it feels pretty great!
 
The Deli: What can we expect from your upcoming EP?
 
Topaz: The new EP will be a 7-song rock and roll record. We’re doing a cassette tape release, which I know can be divisive, but it’s cost effective and there will be download cards in the tapes for people to get the records from.
 
Also, Jud Kite from Killer Kite Productions designed us an absolutely killer logo and I’m just so stoked for everyone to see it. So, I think it will be pretty rad! Also, we’d been talking to a small label out of San Francisco called Ripple Music and they’d agreed to distribute and review our little EP. At this time, we’ve not heard back on the masters we delivered to them, so we don’t really have a timetable for anything yet. Hopefully, we will hear back soon. If not… Well… We’ll just keep doing what we’ve always done: enjoying freedom.
 
The Deli: What does supporting local music mean to you?
 
Topaz: I think it’s super important. I try whenever I can to support my local brothers and sisters! I know that people might think that’s not true since I’m not always seen out and about. But, with two little kiddos at home and a full-time job…sometimes it’s hard to get out to everyone I want to see. But I always support locals when I can. KC has some great bands right now too!
 
The Deli: Who are your favorite local musicians right now? Non-local?
 
Topaz: Favorite local musicians? Well, this is just me speaking but I’ll list a few of my favorites right now: Doby Watson, JAENKI, Death Valley Wolfriders, Federation of Horsepower, ElectroPossum, Ha Ha Tonka, Circle of Trust, Hössferatu, Drew Black & Dirty Electric, basically the whole High Dive Records roster and I’m also a fan of your band The Philistines.
 
Non-local: I’m super into The Darkness right now, and I really love Royal Blood. As a group, we love Saxon!
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Topaz: Oh man… for me, it would be us and Queen, circa 1985.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Topaz: Basically the four faces of Bad Wheels members because I just couldn’t pick four other musicians I love that much since my mood is always changing. But, I would love for someone to capture my current hairstyle in stone forever.
 
The Deli: What goals do Bad Wheels have for 2015, and beyond?
 
Topaz: Our goals haven’t changed that much and probably never will. Keep writing music that’s true to the sound we want, have plenty of Miller Lite tallboys available at all times, and keep carrying the torch of freedom!!!
 
The Deli: Where can we find you on the web?
 
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Topaz: Don’t listen take advice from anyone named "Tad", listen to plenty of loud rock music, always have a tall boy handy, and juat because you can play the accordion, doesn’t mean you should.
 
Bad Wheels is:
Bobby Topaz: vocals, guitar
Paul Marchman: guitar
Brock Ginther: bass
Chip Sage: drums
 
 
 
Head over to The All Star Rock Bar this Saturday, July 11 to see Bad Wheels, along with Federation of Horsepower and The Devil’s Marmalade. Facebook event page.
 
–Michelle Bacon
 

Michelle Bacon is editor of The Deli KC and plays in bands. She likes Planet Sub. 

NYC

Boulevardia hosts touring bands and showcases local talent

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In only its second year, Boulevardia has experienced exponential growth as a music, food, and beer festival, curated by Boulevard Brewing Company and located in the historic West Bottoms district. Though its first year boasted a musical lineup of touring acts like The BoDeans and Catfish & the Bottlemen, this year exceeded expectations with J. Roddy Walston & the Business, Mayer Hawthorne, Atlas Genius, and more.
 
The festival also highlighted a bevy of local musicians on two stages, curated by Ink and 90.9 The Bridge. Among several others, the Greenville Acoustic Stage featured a Delta blues/gospel-inspired set from Kris and Havilah Bruders, one-man folk troubadour Nicholas St. James, and newly formed trio Lovelorn. Meanwhile, the Chipotle Homegrown Stage presented a diverse swath of artists, many of whom—such as The Architects, Hembree, and Making Movies—performed to a large, eager crowd singing along to their music.
 
Local groups also dotted the Boulevard Main Stage throughout the weekend. Outsides kicked off Boulevardia on Friday with a danceworthy set that warmed up the audience for In the Valley Below, MS MR, and The Mowglis. On Saturday, Captiva, Chris Meck & the Guilty Birds, and The Clementines endured strong sets in the sweltering heat before the evening’s headlining acts, which welcomed Boulevardia’s first sold-out day of 20,000 patrons. On Sunday, Sara Morgan and Hearts of Darkness warmed up a Father’s Day crowd for The Grisly Hand—who brought in a horn section to augment an already fully formed country sound—and Big Head Todd & the Monsters.
 
Michelle Bacon
 
Here are some photos of the festival from Jaime Russell of Anthem Photography. To see more of Jaime’s shots from Boulevardia, visit her Flickr page.
 
Outsides
 
 
 
 
 
 
 
 
 
 
 
 
 
Hembree
 
 
 
 
 
 
The Architects
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Making Movies
 
 
 
 
 
 
 
 
 
 
NYC

Song premiere: “Bad To Me” by Margo May

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(Photo by Hannah Lavenburg)
 
The Deli KC is excited to premiere the latest track from Margo May, “Bad To Me,” off her forthcoming album I’m Not Coming Home.
 
May credits much of her songwriting to Elliott Smith, whose voice comes through on this track’s melodic arrangement and its stripped-down, heart-rending honesty. She wrote “Bad To Me” as a result of a relationship gone wrong: “I really had to question my intention if I was a good or bad person,” she says. “A week later with no phone or Internet and I got ‘Bad To Me’ on my self reflection.”
 
The raw delivery of the song mirrors the intimate tone of the album, a departure from May’s polished pop tunes of the past. Recorded/produced in Kansas City by Tim J. Harte (Mother Russia Industries), its lo-fi sound lends more poignancy and sincerity to her subtle, breathy vocals and Doby Watson’s sublime, tasteful fingerpicking.
 
I’m Not Coming Home will be co-released on Mother Russia Industries and Double Shift Music and was mastered by Cory Schultz in Milwaukee. May and Watson will be embarking on a short tour in July, which includes an official album release show at Prospero’s on July 19.
 
 
Michelle Bacon
 

Michelle is editor of The Deli KC and plays in bands. 

NYC

Artist profile: Various Blonde

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(Photo by Todd Zimmer)
 
The version of Various Blonde I saw live at Czar in 2011 is very different from the band playing this Thursday at Lawrence Field Day Fest. The 2011 iteration, led by guitarist/vocalist Joshua Allen, moved through a set that dabbled a little in the psychedelic while adhering to a heavier rock and punk-based sound. It was a solid set, though I remember thinking the vocals needed something and the melodies hinted at something more. What exactly? I didn’t know.
 
The release of Summer High a few years later illustrated the elusive what hinted at back at Czar years before. I caught up to a very different live band back in November at Apocalypse Meow, and again last week at The Riot Room.
 
The only element that remained from the band was Allen. His guitar and vocals were still there, but now different from what I remember. There was a new bassist, EvanJohn McIntosh, a new drummer, Mark Lomas, and the addition of keyboardist Eddie Moore. The three-piece had grown, shifted, and mutated into a very different band creating a very different sound.
 
There is a seriousness to watching this four-piece perform. Like any professionals at work, it is obvious they enjoy what they do. But, also evident is that they are on stage to work, put on a great show, and hone their craft. A lot of the songs they perform create a serious reflective mood, but they cut that stoicism nicely with soulful grooves and melodies that manage to conjure a very difficult thing: movement. I tried to fight the urge to move along with the tunes, but, damnit, I happily failed.
 
Joshua Allen can sing. His voice shifts effortlessly from an easy tenor to a smooth falsetto that avoids piercing metal clichés. That he is a solid guitarist is as advantageous as it is necessary to VB’s sound. He could easily get away with just singing, moving to the music and fronting the band, but thankfully he doesn’t. Without him, songs like "Savage Children" would fall into the trap of being a "jam" song. Which is fine I guess, but I wouldn’t know, I’ve never made it through an entire "jam" song. Allen’s guitar and vocals dice tunes like “Savage Children” into succinct, building well-rounded songs. While the vocals help guide on "Savage Children,” they truly shine on the danceable, rocking tune “Indigo Children.” The first time I heard that song was literally a WTF moment. A perfect illustration of the elusive what:familiar, yet totally different and new.
 
The consistent blues infused groove created by McIntosh is unstoppable. Good luck not moving some part of your body. McIntosh’s bass lines lead without overstepping, cyclical but never simple. I’ve been a fan since his days in Cherokee Rock Rifle and am selfishly happy he’s found another outlet for his formidable skill set.
 
I don’t know how long McIntosh and Lomas have been playing together (I’m just that thorough a correspondent) but the sound they produce belies whatever actual time they’ve spent working together. Their styles align perfectly. Nicely complementing each other as the foundation of the tone and mood of this band. Lomas’ playing seems unflashy, until you take a moment and try to keep up with what he’s doing. Seeing and hearing this guy live as he holds down patterns and changes that would make a drum machine pass out is mesmerizing. And again, good luck not dancing.
 
The addition of keyboardist and local jazz standout Moore adds depth and changes things drastically for this group. From a songwriting perspective alone, Moore’s instrument and playing allows for a myriad of new directions, from sonic to classical to his specialty, jazz. As a musician, Moore’s jazz sensibility and musical intelligence lend themselves perfectly to McIntosh’s and Lomas’ rhythmic foundation. Moore knows how to create his own distinctive musical plots and subplots within the framework of the sound already set in motion by his bandmates; he does so effortlessly, and without overplaying.
 
Obligatory comparisons? You should make your own… while dancing.
 
With the excellent full-length Summer High already out, I can’t wait to hear what these guys build next. Until then, they play at Lawrence Field Day Fest this Thursday, June 25, at the Replay Lounge before taking a little Summer Hiatus.
 
 
 

Video and story by Chris Nielsen 

NYC

Album review: Heidi Lynne Gluck – The Only Girl in the Room

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Back in the late sixties and early seventies, when artists like Emitt Rhodes, Todd Rundgren, and that Paul fella from The Beatles made records all by themselves it was a noteworthy thing. It’s been done plenty of times since.
 
Usually badly.
 
In her modest home studio, Lawrence’s Heidi Lynne Gluck made such a “solo” recording.  On The Only Girl in the Room, Gluck sings and plays every note. And she made a terrific record.
 
Gluck has an extensive resume as touring and session musician, including a stint in the band Some Girls with Juliana Hatfield and recordings with Margot & the Nuclear So and Sos. A 10-year Lawrencian, Gluck played previously in The Only Children with her ex-husband, Josh Berwanger.
 
The Only Girl in the Room is a refreshing EP (the first of four slated for release on KC’s Lotuspool Records), a focused gem of songwriting and performance. With these five songs, three co-written with Kenny Childers, Gluck makes a persuasive case for her art.
 
Gluck’s melodies are both composed and natural. Her poetic but unpretentious lyrics reflect on relationships, and on identity and destiny. Gluck’s voice is not a powerful instrument, but it has character and quiet power. Her sensitive musicianship creates a discreet emotional undertow.
 
On the title track Gluck’s phrasing is subtly swinging, evoking singers like Rickie Lee Jones and Carol Van Dyk (Bettie Serveert), women who can pull off a smoky ballad better than the run of the mill singer-songwriter. The lyrics convey loneliness and isolation, but a certain pride and resolve at the same time.
 
Gluck’s chamber-pop production values are likely a product of both design and thrift; their economy gives the songs focus. “Target Practice” is a nuanced look at personal and social weariness and mistrust. Gluck’s admiration for Jon Brion—especially his production work with Aimee Mann—is evident here. “One of Us Should Go,” guitar-based and closer to the folk idiom than much of Only Girl, recalls Paul Simon’s early songs, with a bridge that tilts toward Brian Wilson melodically.
 
Gluck is a convincing multi-instrumentalist; perhaps most at home as a bass player. Her bass lines, simple and supple, give “Orchids” an affecting throb. She has a fine ear for details, images of “your perfect shoulders” and a timely shift to falsetto highlight the insinuating melody.
 
Only Girl closes with “Where Will They Bury Me.” Death and the deposit of one’s remains is not typical pop song material, but it’s stock and trade for blues and folk music. Gluck’s Rickie Lee- ilt, and a lyric worthy of Tom Waits, favors a meditation on family and origins­–more than death per se. “Where” sucks you in with a chorus melody quietly evocative of the maudlin sixties hit “Last Kiss,” (J. Frank Wilson and the Cavaliers … or Pearl Jam?) a tragi-comic ditty about a dude losing his gal in a car wreck. It lends a familiarity, leavening the solemnity of the lyric.
 
The job of an EP is simple—to leave you hungering for an entire album of material from the artist. The Only Girl in the Room is a varied, inviting, and brief recital that introduces Heidi Lynne Gluck, and makes you want more.
 
Steve Wilson
 
 
Catch Heidi Lynne Gluck with her full band next Saturday, June 27 at Lawrence Field Day Fest; they’ll be playing at Eighth Street Taproom at 10 pm.
 

 

NYC

June Artist of the Month: Brooklyn Rye

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Congrats to our June Artist of the Month, Brooklyn Rye! This new blues-influenced rock/pop group is fairly to the KC/Lawrence scene, making its live debut earlier this year. Find out more about the band and see what they have coming up.
 
The Deli: Down and dirty: one sentence to describe your music.
 
Brooklyn Rye: Time warped rock & roll best paired with a good whiskey.
 
The Deli: Give me some background on Brooklyn Rye. How did the band come to be?
 
Brooklyn Rye: The band started nameless in the dormitories of a small junior college in southeastern Kansas. Zach Dodson, Branden Moser, and Steven Bauer passed the time by creating simple progression songs with melodies that usually piqued the humor of the group. Bauer and Moser continued writing songs in this fashion before forming their first band in summer 2014. Kyle Babson had played with a group of friends in college and had toured the Midwest before meeting Bauer, Moser, and Dodson. On the search for a female vocalist Moser found Grace Griffin, who had been a solo singer-songwriter looking to collaborate with other musicians around the Kansas City area. Then we started jamming and haven’t stopped.
 
The Deli: What inspires your music and songwriting?
 
Brooklyn Rye:Life, love, loss, hope, sex. We write about what everybody feels and goes through in their life. We just tell our side of the story. We try to always push each other out of our comfort zones and try to create something that has parts of all of us. A Frankenstein of music roaming the streets of Kansas City.
 
The Deli: What have been your greatest accomplishments as a band?
 
Brooklyn Rye: We feel that being able to play music everyday with your best friends and share that music is our greatest feat. We are just lucky enough to have the opportunity. But we are honored to receive the Deli KC’s Emerging Artist of the Month.
 
The Deli: Do you have any recorded music or anything in the works? What can we expect?
 
Brooklyn Rye: We have released two demo tracks (“Demon Shake” and “Hangman”). We have an EP in the works without a release date at the moment but probably winter/spring . In the meantime, we are branching out later this summer/fall to continue pushing our own boundaries and road test new songs for the record. We adore playing live so we just try to work sessions around that.
 
The Deli: What does supporting local music mean to you?
 
Brooklyn Rye: In Kansas City alone, there are hundreds of bands that go unnoticed that have a great deal of talent. This city has so much to tell the world, and Kansas City’s choice of medium just happens to be song, which is pretty damn cool. We like to believe in the underdog and that you can make music and be seen and heard no matter where you’re from.
 
The Deli: Who are your favorite local musicians right now?
 
Brooklyn Rye: Grand Villanova, Me Like Bees, Scruffy and The Janitors, Radkey, and the other bands in the poll with us.
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Brooklyn Rye: The ‘69 Woodstock bill would be pretty rad.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Branden Moser: That’s impossible. I’d put the other four members of our band on there. They’re pretty good looking and would provide great overseers for the people of South Dakota.
 
The Deli: What goals does Brooklyn Rye have for 2015, and beyond?
 
Brooklyn Rye: Recordings, festivals, gigs—anything we can get our hands on. We want to fully immerse ourselves in music.
 
The Deli: Where can we find you on the web?
 
Brooklyn Rye: www.brooklynrye.fm
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Brooklyn Rye: Stay hydrated and ration the use of selfie sticks, people.
 
Brooklyn Rye is:
Steven Bauer: vocals
Kyle Babson: bass, guitar
Zach Dodson: drums
Grace Griffin: vocals
Branden Moser: guitar
 
 
–Michelle Bacon
 

Michelle Bacon is editor of The Deli KC and plays in bands.

NYC

Artist on Trial: Witch Jail

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Though they created an online presence two years ago, Witch Jail has only been playing out as a band for a short time. Formed by husband-and-wife team Rob Gillaspie and Emily Filley, the group recently added drummer Zach Turner to the mix. Gillaspie—formerly of Lawrence bands The Spook Lights and Pale Hearts, as well as The Cramps tribute band Stay Sick—lends his extravagant frontman stylings to the surfy, primitive garage rock band. Witch Jail’s music has all the makings of the soundtrack to a sleazy horror movie, and we mean that in the best possible way. The trio sat down together to answer our questions, and we think you’ll be amused by the answers.
 
The Deli: Down and dirty: one sentence to describe your music.
 
Zach Turner: Pineapple Boom Bop.
Rob Gillaspie: LISTENABLE. Incredibly listenable Pineapple Boom Bop.
Emily Filley: A 45 you find in a thrift store dumpster but don’t know if you wanna listen to it.
Rob: I would. It’s LISTENABLE.
Zach: It came from the garbage disposal.
 
The Deli: Give me some background on Witch Jail. How did the band come to be?
 
Rob: There is this picture from the ‘40s of these classy­looking schoolgals standing in front of the old Salem Witch Jail in Massachusetts. We saw that and decided to steal the name before anyone else could. Made a Facebook page and a Bandcamp page before we even had any instruments. Locked it down. Conjured up the band around it. SORCERY. I’m used to just being a wild­ass frontman, breaking bottles on my head and taking off my pants and all that… so being anchored to a guitar has been a real humbling experience for me. It’s a good thing.
Emily: You forced me to play guitar even though I was super sick.
Rob: What?
Emily: Yeah! Remember that time I was sick for 6 weeks?
Rob: I forced you to play guitar?
Emily: Yeah, you were like, “We should do this!” and I was like, “I can’t even stay awake right now.”
Rob: So you’re saying I healed you? I cured your illness?
Emily: Yes.
Rob: THAT’S WITCHCRAFT.
Emily: We went through a slew of drummers. Then Zach came up to us in a bar and asked if he could play drums for us.
Zach: That’s how I get all my drumming gigs. I just go up to people and ask. That’s how I ended up playing with Folkicide, too.
 
The Deli: What inspires your music and songwriting?
 
Rob: Vintage melodramas. Old comics and sleazy movie trailers. Slime. Artists of singular vision­­ like Doris Wishman or that guy who directed Miami Connection. Unsolved murders. Drugs, obviously. The Devil—not the metal one but the blues one. Ghosts—at my age, the kind of life I’ve led, you start to know quite a few of them.
Emily: Romance comics, cats, shoplifting, movies.
Zach: Sticky buns. I think about sticky buns. Don’t put that.
Emily: Those sticky buns are gonna be good when I’m done. Better hurry up and finish this song.
Rob: What about your drumming? What inspires your drumming?
Zach: I just like to hit stuff.
 
The Deli: What have been your greatest accomplishments as a band?
 
Emily: Not getting frostbite in the shed at Satan’s Gay Acid Bath.
Rob: I was gonna use that show, too. Opening for Guantanamo Baywatch in that freezing shed. They’re one of my favorite bands. Also, Getting Zach to play drums for us.
Zach: I don’t know. SHE’S ASKING THE TOUGH QUESTIONS. I thought this was gonna be a fluff piece.
Rob: Actually, the fact that we’re playing shows ANYWHERE is an accomplishment. I’m just happy Kansas City has been such a good fit for us. We love it here.
 
The Deli: Rob, you’ve been playing music in the KC/Lawrence area for a number of years. How has the scene changed, in your opinion?
 
Rob: I don’t know that it’s changed a whole lot. The way I interact with it has changed as I’ve gotten older, sure… I think the only thing that really changes in a scene is perspective. The music in KC has ALWAYS been on point. It’s a creative town, lots of energy here. That being said, there’s always an ebb and flow. Kansas City just happens to be FLOWING in a huge way right now. We just moved here after living in Lawrence for 20 years. Lawrence is… not really a GULCH these days, but close. There’s certain things going on with the economy over there that makes it hard to be a struggling artist. Which is probably why KC keeps stealing such great talent from there, ha ha ha. I know it’s a BIG reason we decided to migrate here.
 
The Deli: Do you have any recorded music or anything in the works? What can we expect?
 
Rob: We have a really rough demo up on our Bandcamp page, but we’re gonna record everything over again, then start shooting music videos. Maybe do a horror movie about killer cats. And definitely put out a tape soon.
 
The Deli: What does supporting local music mean to you?
 
Rob: Reducing the amount of shit I talk online about local bands I don’t like.
Emily: Buying a round of shots for bands when we see them play.
Rob: I’m too broke and crotchety to get out to all of the shows I want to see, which is A LOT of shows, so I try to do my part by spreading the word to people, help build audiences. I’ve been trying to do art for local bands that I like, too, whether they want it or not. Ha ha ha.
 
The Deli: Who are your favorite local musicians right now?
 
Witch Jail: Johnny Blood. Lazy. Schwervon!. Psychic Heat. Drugs and Attics. Cop Knock. Folkicide. The Quivers. The Bad Ideas. The Latenight Callers. That band Bill Murray likes (The Philistines). Pretty much any band playing at the Green Lady.
 
The Deli: Who are your favorite non-local musicians right now?
 
Rob: Martin Denny? Liberace?
Emily: Can it all just be dead people?
Zach: Guantanamo Baywatch. Shannon and the Clams.
Rob: La Luz. I like them a lot.
Emily: Kid Congo and the Pink Monkey Birds.
Zach: Cherry Pits are really good. The Rebel.
Rob: I listen to rock music some of the time, but when I’m at home I mostly listen to exotica albums and lounge music.
Zach: I mostly listen to bubble-gum pop and soundtrack music.
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Zach: Wrestlemania in Hawaii.
Emily: Hasil Adkins with Tom Lehrer and The Cramps. The Cramps with Kid Congo.
Zach: I don’t know. I don’t really have a fantasy concert.
Rob: Playing at some seedy fucking titty bar in the 1950s and ending up on one of those Las Vegas Grind comps later on. Or opening for ourselves from 20 years in the future.
Zach: I’m not really a concert guy. So I don’t really have one. I like albums better.
Rob: That’s a really good answer. I feel like a lot of people come up with really extravagant concerts…
Emily: "The Who and Cher!"
Rob: …I think that’s a way more honest answer though. I totally feel that.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Rob: We were gonna say the Residents at one point, just four eyeballs.
Emily: Poison Ivy, Levi Stubbs, Mark Mothersbaugh, and Tuna from the Rock Cats.
Zach: Paul McCartney, John Cage, Erik Satie, Macho Man Randy Savage. There was a question on one of those Legends of Wrestling specials; it was an episode about managers, and they actually had a graphic of their top four managers on Mount Rushmore.
Rob: No girl groups?
Zach: Fuck. I wanna change Macho Man to Ronnie Spector now.
Rob: Martin Denny, Link Wray, Mrs. Miller… Nah, my Mount Rushmore is gonna have The Chipmunks and Screamin’ Jay Hawkins on it.
Emily: You’re just doing that out of spite!
 
The Deli: What goals does Witch Jail have for 2015, and beyond?
 
Emily: Get the all­important Dan Aykroyd endorsement.
Rob: Get a Crystal Skull vodka endorsement.
Zach: I don’t like vodka, though.
Rob: You like Dan Aykroyd, don’t you? Then you’ll like his vodka.
Emily: We’ll just fill a crystal skull with gin for you.
Rob: Also, supporting Zach in his bid to become a pro wrestling manager. What’s the story with that?
Zach: The story is, I got a walrus in my bathtub and a crapper fulla diamonds, and I’m gonna buy me a fucking champion!
Emily: And we’re gonna ride his coattails to stardom.
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Zach: You should probably die before the war.
Emily: Good times, great oldies.
Rob: Never shower. It washes your creativity down the drain.
 
Witch Jail is:
Rob Gillaspie (Guy Slimey): guitar, vocals
Emily Filley (Suzy Bones): guitar
Zach Turner (Tommy Guyana): drums
 
There are several opportunities to catch Witch Jail this month; the first is tomorrow, June 9, at recordBar with Lazy, Heavy Buffalo, and Mr. & the Mrs. Facebook event page. They’ll also be at East Wing next Wednesday, June 17.
 
 
–Michelle Bacon
 
Michelle Bacon is editor of The Deli KC and plays in bands.
 
 

 

NYC

Too Much Rock’s 7″ series: The Uncouth!

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(Photo by Todd Zimmer)
 
The fourth installment of Too Much Rock’s 7” single series features The Uncouth!, arguably the leading purveyors of Kansas City’s Oi! scene. Too Much Rock has also released singles from Schwervon!, Rev Gusto, and Josh Berwanger Band; each 7” includes an original song from the band and a cover chosen by TMR’s Sid Sowder.
 
The album’s A-side is “KC United,” a 2-and-a-half-minute track that celebrates KC pride and displays what The Uncouth! does best: producing unabashed, fast-paced anthems with a classic punk throwback. This carries over onto the B-side, a cover of “Gudbuy T’Jane,” a 1972 hit from Slade, who influenced both the skinhead and glam rock scenes. The KC trio’s interpretation retains the original’s rhythmic drive and adds its own brand of immediacy and ferocity.
 
Check out this single from The Uncouth!, also available on Teenage Heart Stateside Distro.
 
 
–Michelle Bacon
 
Michelle Bacon is editor of The Deli KC and plays in bands. 
NYC

Artist on Trial: Suneaters

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(Photo by Rachael Jane)
 
In celebration of the release of its third album Suneaters II: Loving Relationship, four-piece rock group Suneaters is our Artist on Trial today. Self-described as “psychedelic, post-graduate rock,” the band takes a passionate, sometimes sarcastic and playful approach to its music, and draws influence from groups as diverse as Hall & Oates, Thin Lizzy, Slayer, and X. Frontman Christopher Garibaldi, who also owns local label Lotuspool Records, talks with us a bit about the project.
 
The Deli: Down and dirty: one sentence to describe your music.
 
Garibaldi: Rock rooted with an ambitious commitment to confuse and delight those who listen to our songs.
 
The Deli: Give me some background on Suneaters. How did the band come to be?
 
Garibaldi: I started a band, Dr.Doctor in LA with KC native and star of HBO’s True Blood, Michael McMillian. When Michael opted to focus on acting, writing, and directing, I took our songs back to Kansas City and formed Suneaters with longtime friend Scott Hartley. Our first album Suneaters I was a mix of new collaborations and rehashed Dr.Doctor songs. Our second album, Suneaters XIII was a soundtrack (mostly written by Scott) for Michael’s movie Charlie 13. When that album was finished, Scott and I committed to releasing a total of 13 Suneaters’ albums. We then started a plan to release albums in pairs.
 
After Suneaters II: Loving Relationship is released, Suneaters XII will soon follow. We both agree to end Suneaters when the ascending albums and descending albums meet at Suneaters VII.
 
After several fruitful years with drummer David Saab, we changed the lineup to include Chris Cardwell and Michael Judd. Both Chris and Michael each added their own unique energy to the band coupled with broad musical tastes and abilities. Scott and I couldn’t be happier with the current lineup and what this oddly matched/perfect fit group is capable of creating.
 
Suneaters’ recordings are supported by a number of folks, including Michael McMillian on vocals, multi-instrumentalist Matt Nalbach, and Matt Ku (vocals/Kaoss pad).
 
The Deli: What inspires your music and songwriting?
 
Garibaldi: Generally, we look for the perfect intersection of sincerity and smartass.
 
The Deli: What have been your greatest accomplishments as a band?
 
Garibaldi: Things keep getting better. We were pretty damn proud of SEII and then we started making videos with W. Dave Keith (director of Metcalf South Memories). That has been an energizing experience, and a way we can all better express the energy and fun in our music.
 
The Deli: Tell us about your new album, Suneaters II: Loving Relationship. What can we expect, and how do you think it’s shown your growth as a band from previous works?
 
Garibaldi: While it is the third album recorded in our basements, it is sonically the best thing we have done. Matt Allen (local producer) helped us make the most out of our home studio without relying too much on ProTools or plugins. The songwriting, sounds, and performances are a huge step up from our past recordings, yet we preserved our “anything goes” approach to making the songs. In all sincerity, it is an album concocted from an odd array of influences (America, Bread, Graham Nash, George Harrison, Al Green, Hall & Oates, and Slayer), but I think it makes sense when you hear it. As an example, “Hai Karate” is a song that ties together the styles of Thin Lizzy and The Cure.
 
The Deli: What does supporting local music mean to you?
 
Garibaldi: My perspective on local music comes from someone who has played in local bands and run a local label for the last 22 years. In my mind, supporting local music is a broader extension of the Suneaters/Lotuspool DIT (Do It Together) approach to creativity. I know that there is a tremendous group of creative folks in this area. I support and encourage us all to help each other raise the bar on our creative output. We should support each other locally with the goal of being globally recognized. And when we get that recognition, we should continue to grow the pool of our collaborators, supporters, and friends. When I lived in Lawrence, I was lucky enough to spend time with William S. Burroughs and James Grauerholz. Those dudes were very locally committed, but also fostered a collective of international writers, artists, and musicians. I am forever grateful for the support they gave Lotuspool and the example they set when it came to being global creative moguls with a dedication to the local scene.
 
The Deli: Who are your favorite local and non-local musicians right now?
 
Garibaldi: My favorite local musician is Heidi Gluck. I just saw her play at Love Garden Sounds in Lawrence with her, new band and that performance would have been just as amazing in Kauffman Stadium. She is the real deal. I also love Til Willis and Erratic Cowboy. Til is a dude who is down for music no matter what. I love that.
 
In the last month, I got to see Built to Spill and The Replacements live. Both shows were amazing for very different reasons. While many would consider those bands ancient, I am still in awe of what I saw them do on stage last month. As for somewhat modern performers, I think women vocalists are dominating the creative spectrum. Beyoncé, Taylor Swift, Christina Aguilera, and Niki Minaj are doing some crazy shit, but will never get the props of innovators like Slint, The Pink Fairies, or Faust because today’s ladies are doing what they do, shrouded in pop.
 
The Deli: What is your ultimate fantasy concert bill to play on?
 
Garibaldi: I know it is an impossibility, but I’d love to open for Minutemen. I had a life changing experience waiting on Mike Watt at the Blue Bird Diner in Lawrence, and I think Minutemen are Scott’s favorite band. In my humble opinion, Minutemen were the best example of punk rock.
 
The Deli: A music-themed Mount Rushmore. What four faces are you putting up there and why?
 
Garibaldi: Michael Jackson, Barry Manilow, D. Boon, and Abe Lincoln. Needs no explanation.
 
The Deli: What goals do Suneaters have for 2015, and beyond?
 
Garibaldi: Finish a video for every song on SEII. Release Suneaters XII. Write Suneaters III.
 
The Deli: You also run Lotuspool Records. What bands do you represent and what are your goals with the label?
 
Garibaldi: Lotuspool Records was started in 1992 by Matt Hyde (currently owns 715 Restaurant and the Lady Bird Diner in Lawrence) and me. While Scott and I currently run Lotuspool, Matt is still involved in label activities. He introduced us to Heidi Gluck (arguably our most talented artist to date). We are releasing a four-track album of Matt’s sometime in the fall. We hope to someday sign his super talented daughters, who are incredible musicians and vocalists. The current Lotuspool catalog includes Zoom, Panel Donor, Bully Pulpit, Mild 7, Hollow Body, Krafty Love Lordz, Suneaters, and Heidi Gluck. Our goal is to be an artist-friendly label committed to music and music choices that pleasantly surprise our patrons.
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Garibaldi: Thank you for supporting publications like The Deli KC. When we grew up, we needed zines to help us find life-changing music. With current-day media being a dense soup that is very difficult to traverse, an oasis like The Deli is just as important as those zines we read as kids.
 
Suneaters is:
Scott Hartley: Bass/Vocals
Chris Garibaldi: Guitar/Vocals
Chris Cardwell: Drums/Vocals
Michael Judd: Guitar/Vocals
 
Check out Suneaters’ latest album Loving Relationship, released today on Lotuspool Records. Watch out for their upcoming show in August at The Tank Room with labelmate Heidi Gluck.
 
–Michelle Bacon
 
Michelle Bacon is editor of The Deli KC and plays in bands.
 
 

 

NYC

May 2015’s Artist of the Month: No Cave

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Congrats to No Cave, The Deli KC’s May Artist of the Month! Having been a band for slightly over a year, No Cave has already made strides acrossLawrence with its groove-based psychedelic jazz rock sound. Just last month, the band beat out seven other semi-finalists in KJHK’s Farmer’s Ball competition. We talk with frontman and guitarist Ross Williams a bit more about the project.
 
The Deli: Down and dirty: one sentence to describe your music.
 
Williams: Dark Bandicoot Jazz.
 
The Deli: Give me some background on No Cave. How did the band come to be?
 
Williams: No Cave started a little over a year ago at this house James (Thomblinson) and I used to live at about 15 minutes west of Lawrence. We had about 80 acres of land, a 5-bedroom house, and a converted wood shop we used as a rehearsal/recording space and as a DIY venue. James and I had been having weird krautrock jams regularly for about 6 months before I asked Nick (Frederickson) to come over and jam. We knew immediately we were a band. I recorded our first jam! It didn’t just feel good, it sounded good too. Just recently we have added a member (Joel Stratton) to play bass with us, while James is going to move to synth.
 
The Deli: What have been your biggest accomplishments as a band?
 
Williams: We won this battle of the bands sponsored by KU a few weeks ago called Farmer’s Ball. That was big for us because it exposed us to the students of KU and the crowd of people who won’t come out for a show that starts at 11 pm. We also won a big cash prize, which is great for us. And you know, we won this reader’s poll! We found about this right after we won Farmer’s Ball, so I would say we got some momentum in the month of April from multiple sources.
 
The Deli: What inspires your music and songwriting?
 
Williams: We do a lot of writing together, so the camaraderie of hanging out with your best friends trying to have fun but think critically together and create something greater than the sum of its parts. There is so much instability in the world,; ust having friends that are on the same wavelength as you can make a huge difference in how you perceive your place in it all.
 
The Deli: You recently released your first EP, Eyes Brighter Then the Sun, in early 2015. What can we expect?
 
Williams: It’s 4 songs and about 20 minutes. We recorded it live as a band, and I mixed it and added some overdubs afterwards. I’m extremely proud of the fact that we did it all ourselves and made a recording that is of respectable quality. Stylistically, it’s rock and roll with the aforementioned kraut thrown in for seasoning.
 
The Deli: What does supporting local music mean to you?
 
Williams: Well, we are a local band, so it means supporting our friends and people who we like. But on a more philosophical note it means helping to grow something that is a product of its immediate environment. You’re empowering your community to be the best it can be, which benefits everyone. When you see someone you know doing something you like, you want to do it too! The more people pay attention and the more people do to support local culture the better it gets, and there’s a threshold where once a community gets enough continuous support it becomes a hotbed for talent. All it takes is the community getting together and actually interacting and helping each other for the sake of excellence.
 
The Deli: Who are your favorite local and non-local musicians right now?
 
Williams: Psychic Heat, Paper BuffaloMajor Games, The Conquerors, The Philistines (SLAYED at MidCoast Takeover), Expo ’70, D’Angelo, Flying Lotus, Unknown Mortal Orchestra.
 
The Deli: What goals does No Cave have for 2015, and beyond?
 
Williams: KANSAS CITY. That’s where we want to play. Hit us up! We will play our asses off, show up on time, and promote. Let’s book a big show with lots of people and make sure everyone leaves having had an awesome night! I think we’d like to press at least a 7” as well. We’ve got a band fund, we’ll see when we do that.
 
The Deli: Always go out on a high note. Any last words of wisdom for the Deli audience?
 
Williams: It’s best if the high note is a leading tone, creating tension until the resolving chord is played in a lower octave.
 
No Cave is:
Ross Williams – vox, guitar
James Thomblison – synth, vox
Nick Frederickson – drums
Joel Stratton – bass
 
No Cave’s next show will be at The Bottleneck next Friday, May 22, with Major Games and Paper Buffalo. Be sure to check them out. Facebook event page.
 
–Michelle Bacon
 
Michelle Bacon is editor of The Deli KC and plays in bands.
 

 

NYC

Show review: Deco Auto with The English Beat

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(Photo by Elizabeth Garcia)
 
Friday night, I was 16 again, except for the part about needing a fake ID to get into the club. If there wasn’t a good time being had by anyone and everyone in the vicinity of Knuckleheads, well, it’s on them, because all the ingredients were assembled for them—all they had to do was shake.
 
Deco Auto got things rolling, and the only problem I had with their set was that it wasn’t long enough. Seriously, seven songs? These guys deserve more. Steven Garcia just wails, both his vocals and his guitar; Tracy Flowers maintains the power pop beat with some of the most right-on bass playing in Kansas City, or anywhere else for that fact. The band is rounded out with Pat Tomek on drums. You know who he is. He’s the unnamed drummer who not only didn’t object, but probably thought it was a grand idea for Steve, Bob & Rich to change their name and become The Rainmakers.
 
But they’re resourceful and made the most of what they had to work with, and played mostly new stuff from the new LP The Curse of Deco Auto (which is awesome and you should buy a copy). They closed with a crowd favorite, “The Mercy Kind.” I can only imagine the speeding tickets that song has inspired.
 
Deco Auto opening for The English Beat was like a pyromaniac gleefully setting a blaze, and then watching with smug satisfaction as the headliner fanned the flames.
 
And fan the flames they did. For two hours, they burned down the house. If you haven’t gotten it by now, I’ll just tell you… I had a great time. For a few hours I was as carefree as I was when they provided the soundtrack of my youth, and that was the effect they wanted to have. The Beat has a new album coming out next month, and the playlist interspersed songs from it with the songs of our youth that most of the attendees came to hear… “Tears of a Clown,” “Save it for Later,” “Hands Off…She’s Mine,” “Mirror in the Bathroom,” “Twist & Crawl”… they knew what several hundred people turned out on a glorious May evening for, and they did not disappoint. For more than two hours they had the crowd on their feet, dancing and skanking (relax, it just means ‘boogying’ in ska-speak) and forgetting all about the babysitters that were on the clock and making more than the revelers made in their first two or three jobs combined. But no one cared, because the show they came for… they got.
 
Tammy Booth
 

Tammy also blogs at They Gave Us A Republic and Show Me Progress.