| T O P I C R E V I E W |
| kathryn |
Posted - 04/14/2005 : 10:17:35
As we all eagerly await the April 24 chat with Rich Gilbert
we can, thanks to OldManInaCoffeeCan, read a review of
Rich Gilbert and Joshua Black Wilkin’s April 7, 2005 show
in Nashville and learn what Rich had to say about his
busy new life, Charles, FB+TheCs, and more.
Though he’s cool enough to name himself after COR,
OldManInaCoffeeCan humbly wishes to note that
any misquotes, misstatements or inaccuracies
contained herein are solely his fault.
Here is what OldManInaCoffeeCan (above, with Rich Gilbert)
had to say about the show and his talk afterwards with Rich.
I’d been thinking about seeing Rich play with Joshua
ever since I heard about it at FB.net. I listened to Joshua’s latest album,
“Hellbent and Brokenhearted,” on the way to the Family Wash,
located in East Nashville. It’s a really good album, Joshua has a
great voice and he writes great songs. The plan was for me to go
into the bar and get some good seats close to the stage. Having
never been to the Family Wash, I had heard that it was a small
place, so we weren’t sure if it would be very crowded. My wife
called, telling me that in my excitement to get to the show, I had
forgotten to say goodbye to our son Garrett. She put him on the
phone and I had to tell Garrett, “Big Guy, let me
call you right back, I’m about to go talk to Rich Gilbert, you know,
the lead guitar player for Frank Black and The Catholics.” Garrett
reminded me that he knows who he is.
Suddenly, it was just me standing in a drizzling rain in front of the
Family Wash, just a few feet from Rich Gilbert, legendary lead
and pedal guitarist for the Catholics. Rich was talking to
someone. I walked up to them, waited for a quick pause in the
conversation, and then I politely interrupted them and asked if I
could introduce myself. I extended my hand and told him my
name was Richard. He smiled, shook my hand and said, “Hi, I’m
Rich.” I turned to the other person standing there and discovered
that it was Jason, The Swimmer. We introduced ourselves, and
commented on our FB.net user names. I then asked Rich if he
would mind having his picture made with me.
After talking for a few minutes about his move to Nashville and
how he was enjoying the people and the nice warm spring
weather here, Rich excused himself to get his equipment (his
Fender and his pedal/steel guitar) out of his car. He was parked
10 feet away, and I thought he had someone to help
him, but he didn’t. A girl who called him by name asked if she
could help and he said, “Sure, that would be nice.” As he walked
by me carry on of his guitars, I asked him, “Hey, Rich, do you
want me to watch your car until it’s unloaded?” He said, “No, it’ll
be all-right,” to which I responded, “Yeah, I bet that’s what Frank
said in Philadelphia when all of your equipment was stolen.” He
grinned, walked inside, and I kept an eye on his car.
As I finished my cigarette, Joshua Black Wilkins came strolling
out the front door. I walked up to him, introduced myself, and told
him, “Damn, Joshua, you got one helluva voice there, boy!” I had
recently bought his latest and third album, “Hellbent and
Brokenhearted.” (On it, Joshua writes, sings and plays what
most people call Alt Country, but which I think is better described
as Hard Country Blues. It’s a sound that struck a chord in me
from the first listen and I would highly recommend
Joshua’s sound to anyone, especially those of us here at FB.net,
where we are proud of our discriminating taste in music.)
I asked Joshua about being from Huntsville, Alabama and
moving to Nashville. He said, “I really like Nashville, nice place,
friendly people.” I interrupted and said, “And, you can hook up
with some pretty good musicians here, like Rich Gilbert.”
Joshua smiled and said, “Yeah, it’s great, I’m really lucky to
have him in my band.” When I asked him how much he and
Rich had practiced together this week, he explained, “We
practiced the week, and you know Rich is so good, I just sing a
verse and chorus, and then let him play guitar, and when he
finishes, I sing another verse and chorus, and then let him play a
whole lot more.” Joshua had to get ready to play, so I thanked
him for his time and told him that I had been looking forward to
his show all week.
As my brother and his friend and I walked into the Family Wash,
Joshua was plugging in his guitar, the bass player and drummer
were getting ready, and Rich Gilbert was arranging his Fender
and his pedal steel guitar on the small stage just a few feet in
front of us.
The Family Wash is a small restaurant, bar, listening room for
singer/songwriters and bands, located in historic East Nashville
at the intersection of Greenwood Ave. and Porter Rd. It was
crowded, all the tables and bar stools were full, but there was
one empty table just a few feet from the band, which was set up
in the corner of the room. We quickly took our upfront seats and
within a few minutes we were ordering draft beers and diet
cokes. Before the waitress could return with our order,
Joshua began with one of his 14 songs from “Hellbent and
Brokenhearted.”
Joshua and fb.net’s OldManInaCoffeeCan
As soon as he begins singing, you quickly realize this boy has a
unique voice, and by the end of the first song you realize this boy
knows how to use it. His voice is deep and growling, and the
songs he writes show it off real nice. After each verse and
chorus, Rich filled the air with outrageous, finger picking and
mind blowing, finger stretching, guitar licks. From the
shoulders up, Rich was stoic, still, and very matter of fact. But,
from the shoulders down, his hands and fingers were moving
with speed and precision all over his Fender guitar. He wore a
pick on his right thumb and appeared to be picking with all digits.
The fingers on his left hand are long, fast, and sure, and they
appeared to be moving effortlessly. Rich Gilbert, very much the
Master Craftsman. After the first few songs, Rich moved two
steps back and sat down at his pedal steel guitar. Sweeter
sounds from steel these ears had not heard since “Goodbye
Lorraine” from “Show Me Your Tears” and “Southbound Bevy”
from “Black Letter Days.”
Even though Rich and Joshua have only hooked up recently, the
connection that night was evident. As Joshua sang his heart out,
Rich echoed the emotions with sweet cries of country twang
from his pedal steel guitar.
After a short break, Joshua returned and sang a few songs
accompanied by his acoustic guitar. Then the band joined him
for their final set. They ended the evening with an emotional
song written by Joshua, one which borrows from
the chorus of “Amazing Grace.”
Joshua and Rich hung out a while after the show. I thanked
Joshua for one helluva show and we talked about his other
albums, including “17th and Shelby.” I then searched out the
legendary Rich Gilbert to find out about his current music
projects and as much as I could about his glorious past
and future with Frank Black and The Catholics. I found him
standing in the middle of the room talking with my brother about
art, museums, and some of the culture that Nashville has to
offer. I joined them and quickly change the subject of the
conversation to music, specifically the projects that Rich is
involved in presently. He told me about playing
recently in Austin, Texas at SXSW with Thad Cockrell, his
Wednesday nights on Lower Broad with Jen Jones & The
Cameros at The Bluegrass Inn, and that he
and Joshua are going to continue to play together and the plan
is for Rich to help Joshua with his next album.
Then I asked Rich about his time with FB&TheC’s. He reminded
me that when he joined the Catholics for “Pistolero,” Scott
Boutier and Dave McCaffrey had already been playing together
and they were very tight musically. I asked him about Frank’s
guitar playing and he told me that Charles is a very good guitar
player, despite any statements that Charles has made to the
contrary.
When asked about recording live-to-two track he confirmed that
the engineer has to be good at his job, and the band has
to be good at theirs. He said that some of the songs were easy
to record and some of the songs took forever to get right. Rich
said that eventually the Catholics became so good at recording
live that they were just as good at a show as
they were in the studio. Rich said that on many of the recordings
it’s difficult for him to remember or hear whether he was playing
lead on a song or whether Dave Philips was, or whether he was
playing pedal steel on a song or whether Dave was. Not only did
he and Dave alternate instruments on different songs, but Rich
sometimes played more than one instrument on a song. He
stated that on some songs in the studio and live he would begin
the song on lead guitar, then put that down and go over to his
pedal steel or piano and play those for a while, all during the
same song.
Rich confirmed that he had returned from Charles’ birthday party
in L.A. the previous weekend. He said that he didn’t know of any
plans for FB&TheC’s to get back together anytime soon, that
everyone was busy, and that Charles had a lot going on with his
new baby, with The Pixies, and with “Honeycomb.” Rich said
that he was staying busy and that all of us could check on his
activities at his Bio page at FB.net and that he would keep it
updated.
Next, I asked him if he would mind signing some things for me.
He gladly agreed and for the next few minutes we looked at the
“Black Letter Days,” “Show Me Your Tears,” “Nadine” (US
release), “Nadine” (UK release) and “Everything Is New” CD’s.
Earlier he had signed a SMYT/Nadine small promo poster which
contained a picture of the band and he commented
that he had never seen one of those before. (Maybe I’ll frame it
and give it to him when I check out Jen Jones and The Cameros
some Wednesday in the not too distant future. After all that he
has done for us it’s the least I can do.) I had definitely come
prepared.
He looked at these CD’s as if he hadn’t seen them in a long
time. I was surprised when he said that FB&TheC’s did so much
material and toured so often that he really never had much time
to go back and listen to the albums, singles and b-sides after
they were recorded. He then spent some extra time looking at
both of the “Nadine” singles and the “Everything Is New” single,
as if he had forgotten about these. I told him that the “Nadine”
(US release) CD was for Kathryn, one of FB.net’s most vocal
supporters of FB&TheC’s getting back together and
touring again soon. Rich took the CD, turned away and wrote
something on it, gave it back to me and then made me promise
that I would send it to Kathryn and not keep it.
Next, I handed Rich the “Everything Is New” CD and told him that
this was for FBC, someone who greatly admired his guitar
playing and frequently posts about trying to figure out some new
guitar part on a Frank Black song. Again, Rich looked as if he
hadn’t thought about this one in a long time. He
commented how much he enjoyed “Down in the Hole” and how it
was one of his favorite cover songs. He then inscribed
something on it for FBC, and handed it back to me with strict
instructions to mail it with much haste.
By now, I had monopolized quite a bit of Rich’s time, and, while I
could have talked all night with this legend, I thanked him for his
time and his music, told him that I would check him out down on
Lower Broad with Jen real soon, and walked out into the
drizzling rain, completely blown away by all of my blessings this
good night.
 I still believe in the excellent joy of the Catholics |
| 35 L A T E S T R E P L I E S (Newest First) |
| OldManInaCoffeeCan |
Posted - 05/18/2005 : 21:01:42
Hey scruvs, glad to hear you bought the record
I'll tell you, I get paid back 100 fold every time I get to see that Alt Country Bastard sing "Down by the Waterside", "In My Time of Dying" and "All my Friends are Druggies and Drunkards". In fact, I'm gonna get paid again tomorrow night
|
| scruvs |
Posted - 05/18/2005 : 01:46:56
quote:
Originally posted by kelladwella
This thread just made me go to the CD-Baby-page, listen to "Hellbent and Brokenhearted" and then order it. Seems to be great so far. I can´t wait to listen to the whole CD now.
Thanks for posting the review and the pictures!
ok old man, I bought a record too. pretty soon this Joshua kid is gonna owe you a beer.
_____________________
Boy, you sure can holler. |
| kathryn |
Posted - 05/09/2005 : 17:54:27
I hear that there's a brilliant creative type
over UK way who's ready to post said thread.
I still believe in the excellent joy of the Catholics |
| OldManInaCoffeeCan |
Posted - 05/08/2005 : 13:06:46
Hey Erebus, yeah, gotta love the Shiner Bock! It was the favorite of the crowd and band Friday night at Layla's.
I hope to visit Austin and / or San Antonio in December and I'll try to check out the brewery. I love Texas...good people, food, beer, art, and sports!
I've sent a draft of the review to my editor, or shall I say Literary Genius, and as soon as she gets through making it comprehensible and adding her magic to it I'll post it along with some cool pictures.
|
| Erebus |
Posted - 05/07/2005 : 10:18:52
quote:
Originally posted by OldManInaCoffeeCan
'bout the only thing I can relay to you now is the Son of a Bitch played first with his Pepsi can and then with a Shiner Bock...post the complete review later...
Yes, please do. Love the reference to Shiner Bock. If you're ever in Shiner, Texas, east of San Antonio, be sure to visit the brewery. |
| fbc |
Posted - 05/07/2005 : 02:19:09
Ha! So sleepy....can't wait. |
| OldManInaCoffeeCan |
Posted - 05/07/2005 : 02:17:05
'bout the only thing I can relay to you now is the Son of a Bitch played first with his Pepsi can and then with a Shiner Bock...post the complete review later...
|
| OldManInaCoffeeCan |
Posted - 05/06/2005 : 11:40:07
Hey, just got word that Joshua and Rich are going to be playing tonight at Layla's Bluegrass Inn here in Guitar Town!!! They're scheduled to play the 11 p.m. to 2 a.m. show, and if all goes as planned, albeit planned on short notice, I'll be there, hopefully Mrs. CoffeeCan will be there, Mr. and Mrs. Swimmer may be there, and I'll get some more pictures of Joshua & Rich to post here.
|
| OldManInaCoffeeCan |
Posted - 04/24/2005 : 08:14:20
Safe travels! And, I'm sure Rich G. will understand, after all, there is no greater mission than helping those in need.
Later. |
| fbc |
Posted - 04/24/2005 : 08:00:21
Why thankyou. Like I said, i've seen these things in operation before...only if you get the chance. And the last question's yours don't forget, i'm yet to find that one out. I'm having to leave here in about half hour for an hours cruise up the road to help a friend out. I'll try and track a computer down (fingers crossed) but know this will be one hell of a read when I get back later tonight. Speak then yeah!
Okay, Yorkshire here I come. |
| OldManInaCoffeeCan |
Posted - 04/24/2005 : 07:52:54
Hell yeah, FBC, yours will be the first that I ask!
And, as I stated above, you will be sorely missed!
Great questions btw. They take some of the performance anxiety away from me, I can just ask your brillant inquiries. Of course, I'll give you credit as the source of their origin!
|
| fbc |
Posted - 04/24/2005 : 07:43:23
Oh, one more (cheeky me), what's the official term for pre and post-song ditties  |
| fbc |
Posted - 04/24/2005 : 07:40:23
Oldman, is there a chance you could offer these questions to Rich.G in my absence, please? But only if you can. And I know you may not be able to ask them all, this is a Catholic we're talking about. This could get hectic. If it's being conducted like the FB Oct 8/2004 chat then no worries, you may not get a chance too. Pretty basic stuff really, take ya pick:
what inspired him to play?
what were his influences growing up? (music to listen too and musicians)
was he a 'fan' of Charles' music before The Man came a'calling?
whose idea was it for the drumstick use for L.A? (not sure if Lyle used to do this)
does he have a solo or song he's most proud of (in terms of his own performance)?
what's his singing voice like - would he ever want to front a band?
any future plans to hook up with Dave and Scott? Miracle Legion?
does he realise his own talent?
And only if you remember and have the time, but most important of all, from me, please thank him for the signed cd.
You know what I mean.
Again, just one of these questions would be a privilage to be answered
thanks in advance, Rich. Good luck! Have fun! |
| fbc |
Posted - 04/24/2005 : 06:26:22
Hey rita, your the same time as me. The chat's 8 p.m our time. Have fun!
(forum clock is 8 hours behind us, West Coast U.S of A me thinks) |
| n/a |
Posted - 04/24/2005 : 06:18:39
I really can't understand this forum clock...fbc, would you mind telling me at what hour this will be?
Here's 2,18pm, right now.
how do I post a pic?
- Frank Black 04/22/2005 |
| OldManInaCoffeeCan |
Posted - 04/23/2005 : 14:34:23
Oh no! If you can't make it, you will be sorely missed!
Do all of us a favor FBC, post your questions here in advance and I'll make sure they are submitted to Rich, or you can email me with them.
Hope you can make it!
Overlooked your edit until now: I, nor any other from the "Old School", ever tire of civility, etiquette, and politeness. And, "thank you's" are a critical ingredient thereof. FBC your civility is noted and appreciated! |
| fbc |
Posted - 04/23/2005 : 14:22:44
quote:
did you synchronize your timepiece with me?
just did, though I have a bad feeling i may not be able to make it. |
| OldManInaCoffeeCan |
Posted - 04/23/2005 : 14:15:36
I'm with ya K! East Coast Rules with musical talent, West Coast Drools over said talent!!!
|
| kathryn |
Posted - 04/23/2005 : 12:17:48
All I was saying, East Coast-born OldMan, is that
a lot of talent's come out of the East Coast, what
with McDave and Monsieur Boutier being from
the Providence, RI area, which is Rich Gilbert's former
address, and with Frank being born in the Boston
area.
I still believe in the excellent joy of the Catholics |
| Cult_Of_Frank |
Posted - 04/23/2005 : 11:14:50
Yeah, CST is -6.
 "I joined the Cult of Frank / Wooteenie!" |
| OldManInaCoffeeCan |
Posted - 04/23/2005 : 10:58:07
FBC, what do you mean "bet you're getting tired of these now, you have so many..." You'll have to forgive me, I'm a little slow with my thinking right now, my little pea size brain is overheating and threatening to blow...
And, am I correct about the time CST and across the pond, did you synchronize your timepiece with me?
Good question Kathryn concerning the Providence move, and I'm assuming you are referring to The Duke of Guitars moving to Providence to be near Scott and McDave, and not referring to his move away from Providence to get away from Scott and McDave. I am correct in my assumption, am I not?
And, there appears to be a question, that only The Duke can answer, that is "Were you born in Boston as stated in your bio here at FB.net, or were you born in Nashville, moved to Boston, then Providence, and then back home to Nashville, as stated as fact by CoffeeCan in his posts earlier today."
|
| kathryn |
Posted - 04/23/2005 : 10:42:42
OldMan, I wonder if the Providence move was prompted
by the fact that two other Catholics (Scott Boutier
and David McCaffrey) are from Providence. A lot of talented
musician were born out here in the East Coast of the United States, which is also where Frank was born.
I still believe in the excellent joy of the Catholics |
| fbc |
Posted - 04/23/2005 : 10:39:09
 thanks! (bet you're getting tired of these* now, you have so many. wait until you read the mails)
And please, digress some more while we wait for Rich.G....
..Frank? Boston?
edit: * my thankyous
|
| OldManInaCoffeeCan |
Posted - 04/23/2005 : 09:57:07
Well put Kathryn!
I've got my questions ready
Hey FBC, good question, let's see, I'm here in Nashville, "Home of Rich Gilbert" (by the way, I think Rich was actually born here in Nashville and then moved to Providence, Rhode Island, and now back to Nashville, much like The Man being born in Boston, not in Long Beach, then moving back and forth between the two coasts)...sorry, I digress...
Hey FBC, I believe there is 6 hours difference in the two time zones so that 2:00 p.m. CST here is 8:00 p.m. across the pond. But let's synchronize our watches now, shall we...When I end this sentence with a period and quickly submit my post it will be exactly 11:57 a.m. CST. |
| fbc |
Posted - 04/23/2005 : 09:34:12
Hey Rich, sorry to be so lazy, but what time would this be (2 p.m. CST) across the pond? |
| kathryn |
Posted - 04/23/2005 : 09:28:16
A timely reminder, OldMan, though not even the
excitement of an impromptu Frank chat
could make us forget that a righteous Catholic
will be honoring us with a chat tomorrow!
I still believe in the excellent joy of the Catholics |
| OldManInaCoffeeCan |
Posted - 04/23/2005 : 05:59:13
The King held court here last night (Friday)
And, don't forget, Rich Gilbert, the Duke of Guitars, will be here tomorrow afternoon (Sunday) at 2:00 p.m. CST |
| n/a |
Posted - 04/19/2005 : 00:22:41
Thanks fbc. I've never read that.
He seems to be such a nice person, the only time I saw FB&Cs I took him a picture and he embarassed me, waving and smiling!
I feel like a completely different person |
| darwin |
Posted - 04/19/2005 : 00:20:19
Wow, Duke Ellington and Sinatra/Riddle references from Rich Gilbert.
"Frank Sinatra/Nelson Riddle recordings in the Fifties, which is easily some of the best music ever recorded. you may not agree with me about that, but that's your problem. Listen again."
Sweet. |
| kathryn |
Posted - 04/18/2005 : 17:58:24
Thanks for the invite, OldMan. I'm gonna show up
on your doorstep one day,with all my Frank CDs.
Thanks for that timely book excerpt, FBC. For the
record, Charles and I have a harmonious relationship,
too. If only in my own head.....
I still believe in the excellent joy of the Catholics |
| fbc |
Posted - 04/18/2005 : 15:33:24
As part of this Rich G. appreciation thread, here's some of his interview with the author of 'Gigantic', for anybody who doesn't own it.
The lavishly musical Catholics lead guitarist Rich Gilbert played with or for Throwing Muses, Tanya Donelly, Uncle Tupelo, and the Lemonheads before accepting Charles' invitation to become a Catholics, and, at the dawn of his professional career, Human Sexual Response. Within a year of joining The Catholics, he would become one of the mainstays of a wonderful country orientated side project, The Blackstone Valley Sinners.
How did you start playing with Charles?
He called me out of the blue after Lyle decided to stay in LA and not tour for a while. Charles and I go way back, I was in a great band called the Zulus that were popular in and around Boston when the Pixies first started playing around town. we did some shows together. I liked his approach and he liked mine, so a friendship and mutual admiration were formed. when he needed a new guitar player, he pretty much knew he was going to get with me.
My understanding is that there were some resentment of the Pixies in the early Boston days because they made it so very quickly. True?
Probably by some, that's just how some people are going to be, you know? You work in shipping and receiving for five years and you see the new employee who's been there for six weeks get promoted to department manager of jewellery and you feel a little jealous and envious and passed over. You can't blame a band. but I never felt like "the scene" turned on them or anything like that.
What do you admire most about Charles' stuff?
Probably the same things everyone else who likes his music admires - interesting chord progressions and melodies, great lyrics. he just has that something extra that's hard to put your finger on that really talented artists have. If you talk about it too much or try to over-analyse it, you lose or destroy it. He is what he is.
How is working with Charles different from others who've employed you as a musician?
Well, i haven't really worked in many other situations where i've been hired to be in someone else's band - steve Wynn. Tanya Donelly. Charles. Basically they all have given me tremendous freedom to bring what i have to the material. They've all asked me to play with them because they like my musical personality and style. the only difference with charles is the material itself has more opportunities to take it to different places, so I guess with Charles I have the most freedom. But that's about it.
Lyle says he and Charles never exchanged an unpleasant word in more than five years together. Do you have a comparably harmonious relationship?
Charles and I do have a comparably harmonious relationship, although we traditionally have one pretty big fight during the recordings of an album. happens all the time within recording studios. There's nothing unusual about our head-butting - just two people with strong creative drives and ideas locking horns. The conflicts themselves aren't really that interesting or spectacular. I think we should go this way and he thinks we should go that way, and we fight about it. And then we settle it and go back to getting the music done, with no resentment or lingering bad vibes. There's never any residual tension afterwards however. We're always able to work out the conflict. It's good. it's exciting. it makes the music better.
We do get kind of loud, though, when it's blowing at full peak. i'm usually the loudest shouter. It's how i am. i've done it every band i've been in and with every relationship I've had. When I blow, it's forceful and loud and intense, but usually done with in a couple of minutes.
Are you satisfied with your ability to help shape the FB&TC sound?
sure. i'm given pretty much total freedom to do what i'm going to do with a song. charles tends to work with musicians he admires and lets them bring their personality into the song. Duke Ellington did that also, you know. During live shows, for instance, sometimes i'll play a song on the guitar but play on keyboards or pedal steel on another night, whatever my mood is that evening. This also occurs during recordings. I may play guitar one day and if we record the same song later, i may try switching to piano or organ or something, just to see where it will lead. of course, the song gives you an idea of what it wants to be, but there's a lot of freedom to experiment with it and see what face or colour it ends up exhibiting.
If you came up with a song that you thought would be a terrific addition to the FB&TC repertoire, would you feel free to present it to Charles?
Sure. in fact, charles has encouraged me to do so, but it seems like most of the music I write isn't really Catholics-style music - not that I'm sure what that even is. i have other oultets for what I do.
Are you happy with the direct-to-stereo approach, or do you wish you could, for instance, layer guitars in harmony now and again?
We call it live-to-two-track. You've got to remember that, from the first Edison cylinder through the early Eighties, all music was recorded live, and some of it's complex, like the Frank Sinatra/Nelson Riddle recordings in the Fifties, which is easily some of the best music ever recorded. you may not agree with me about that, but that's your problem. Listen again. Anyway, most of the time, live-to-two-track is fun. it makes you a better musician because you have to play it right, but with feeling and spontaneity. there's a lot of bands and musicians that just wouldn't be able to pull it off. But we can.
The downside is sometimes the version with your best guitar solo, or the best drum fills or the best piano playing doesn't get used because there's something else that doesn't vibe with that take. And since it's being recorded, sometimes a nice detail can get somewhat obscured in the mix.
Again, i have other outlets for what I do, so i use multi-track recording in those situations. but you know what> it woul be nice to do a multi-track recording with The Catholics, just to see what comes out of it.
Has the band ever considered trying to do something together without Charles, with one or more of the Catholics supplying material?
No, not really. I think I'm working on something else, I tend to work with different groups of musicians, just to take the music someplace else, and to bring out other facets of my playing. You need to put yourself in a place where you're not always comfortable to keep moving forwards.
As a guitar player, what do you find most unusual or interesting about joey Santiagos's style and technique?
Everything! He's an incredibly singular player. Always comes up with something that is not the obvious approach, yet fits perfectly. everyone has some form of technique. I don't think Joey sets out to be "odd" or "unusual". he just comes up with ideas that someone else might overlook.
Too many musicians speak with their fingers first, not with their ears or mind or soul. That's why they don't play very well, although technically they may be great. but no one cares about what they have to say, or at least I don't. Joey always has something interesting to say. I think he and Charles have a really, really good natural musical chemistry. |
| OldManInaCoffeeCan |
Posted - 04/18/2005 : 14:44:22
Well, Bless your sweet heart, Kathryn!!! You do realize the price of the "Sho-Bud" Pro I has increased substantially since the 1970's catalogue price of $895, don't you? Alright then, I accept your generosity and tell the boys down at "Sho-Bud" not to deliver mine, I'll stop by when it's ready and pick it up.
And, if you can ever find your way down South to Nashville, Me & Mrs. CoffeeCan will take you & Mr. Kathryn down on Lower Broad to the Bluegrass Inn to see Rich play with Jen Jones and the Cameros. I'm really good at "Texas Two-Steppin" (dancin'), and, I'll buy all of the Jack Daniels Tennessee Sippin' Whiskey that you and Mr. Kathryn care to drink and then some.
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| kathryn |
Posted - 04/18/2005 : 08:52:15
When's your b-day, OldMan? Because I'm gonna
buy that for you for writing the show review and chatting
with Rich Gilbert, etc.
I still believe in the excellent joy of the Catholics |
| OldManInaCoffeeCan |
Posted - 04/18/2005 : 08:17:46
I think I found Rich's pedal steel "Sho-Bud" Pro I guitar at http://shobud.org/
[From http://shobud.org/] "Playing with these popular groups gave Shot Jackson the opportunity to perform on the Grand Ole Opry in Nashville many times, and this is where he first met Buddy Emmons. For a long time, Buddy had been experimenting with the steel. Shot had been doing the same, and after 1954 when the pedal steel started to be used quite extensively, Shot was adding pedals to existing steels. Shot and Buddy became friends, and then started building pedal steels in Shot's garage. Calling their new pedal steel, "Sho-Bud", it was an instant and total success. In a very short time, Shot and Buddy had most all of the Nashville based steel guitarists playing their Sho-Bud's. During this early time, many of these players would spend their free time at Shot's garage helping and just hanging around for the fellowship. This practice of hanging around Sho-Bud went on for years to come. Even after Shot moved the business out of his garage, if you were a pedal steel player in Nashville, you just spent all the time you could at Sho-Bud-it was almost your second home."
Also, if you look closely at the picture of Rich playing his "Sho-Bud" you can see that he is sitting on his "pack-a-seat"
[From http://shobud.org/] "Up to this time, steel players sat on a regular chair, piano stool, or bench. With the addition of the knee levers, players found it sometimes difficult to set at the pedal steel and reach the knee levers and pedals all at the same time. Long time Sho-Bud employee, Duane Marrs came up with the idea of a seat specially designed for the pedal steel guitarist. Some what higher than the average chair or stool, this seat was the perfect height for playing the pedal steel. Duane Marrs built a prototype seat that included a storage compartment and called it the pack-a-seat. When Duane approached Shot Jackson about the idea of manufacturing the pack-a-seat that he had invented, they figured out that they would have to charge no less than $35 to cover the expenses to build it. No one thought that the steel players would be interested in such a seat, nor would be willing to pay money for it. But to their surprise, the seat was well received and as knee levers were added to the pedal steels, sales of the pack-a-seat increased and soon became, and still is today, a much needed accessory for the pedal steel guitar."
I wonder where Rich got his "Sho-Bud" and the history of it. I guess that's something I can ask him this Sunday, April 24th, at the chat.
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| OldManInaCoffeeCan |
Posted - 04/17/2005 : 11:06:05
Hey, I'm glad everyone is enjoying this!
I meant to give credit where credit is due earlier. Props to Kathryn for editing, to FBC for bigger and brighter pics, and to Rich and Joshua for their generosity with their time and music.
And, I WANT TO PUT A BUG IN THE EAR OF THE MAN: Hey Charles, if you need someone to open for any of your shows this Summer and Fall, with all due respect, you gotta do what you can to get Joshua Black Wilkins to tour with you. We all need all the breaks that we can get, and he is no different. You can hear samples from his new album "HELLBENT AND BROKENHEARTED" at http://cdbaby.com/cd/jbwilkins and you can buy it there also. Once again, with all due respect, have your people call his people, or better yet, email him at http://joshuablackwilkins.com
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