Still plugging away

From the Moveable Type blog, March 16, 2008.  Tons of links, so obviously, have linkrot to fix.

I’ve not gone anywhere but into semester preparation. I’ve had several things across my desk, though, and I need to make sure you’re appropriately aware of them.

In order of free stuff received from the particulars:

  • Last month I received an e-mail out of the clear blue from a guy I was a raving fan of in my collegiate youth, and who I’d exchanged e-mails with in my grad-school geekdom. His name is Tim McAllister, and he fronted a couple of groups called Flock 14 and World Theatre back in the dark ages of alternative Christian music. He said he’d send me copies of his new disc if I’d like them.My response was something vaguely close to ARE YOU KIDDING ME I TURN DOWN COPIES OF FREE MUSIC PRETTY MUCH NEVER SEND SEND SEND PLEEZE PLEEZE PLEEZE THANX THANX THANX.

    So I’ve got this album Strong Tower and it pretty much has me giddy. A large part of the giddiness is, I feel like I’ve got the follow-up World Theatre album in my hands. There were so many contemplative piano-and-guitar songs on that album that had been stuck in my head for 15 years or so, I felt like I had been waiting my whole life to hear “Soon The Morning Comes” and “Strong Tower.” But I hadn’t been waiting that long to hear “Photograph” and “Take The Time”, and those songs have taken over my consciousness as well.

    And the whole album is…well, it’s an ALBUM. It’s a consistent, creative effort, from beginning to end. That’s something you don’t get every day, anymore.

    Tim is about as indie as it gets (the CD itself is being sold by CD Baby, and he’s also got an mp3 store of his own for you to give him money directly), so he’s not going to get plugs from the apparatus, so this word of mouth thing is about how we do it. (Plus, he sent me free stuff. And he swaps e-mails with me. Look, if you’re going to buy me off, it’s JUST THAT EASY, people.) And he put together a video-thing for Strong Tower, but he hadn’t posted it on YouTube, and I need an excuse to get a YouTube account, so…

Permalink for Tim McAllister “Strong Tower” video, in case the Facebook importing ever works again.

  • Dear old BlogDad has set up one of his new internet toys, and given me an account on it, and I’m wondering how it’s going to pan out. He’s dubbed it Growing Up Goddy (subtitled “christian culture expatriates”) and says it’s for “reminiscing, dissecting, respecting, and laughing at the idiosyncrasies of American culture-Christianity.” And honestly, once upon the time, I was hip-deep into that culture – and terribly, terribly frustrated by it. So I’m going to see (if I can manage it, with the new semester kicking off and all) if I can contribute some of those ongoing frustrations, and maybe even mine a few old ones too for yuks.
  • I have surely not mentioned lately that Kamp Krusty is consistently full of unfiltered win.
  • I have also not mentioned lately that my pastor is a dork.
  • Oh, and there’s this new player in Major League Soccer. Name of Beckham. Apparently people have heard of him, and stuff. I saw him get a run-out as Los Angeles lost to DC United last night, and apparently the guy has a bum ankle, but he’s honestly not bad. He can deliver a sweet free kick, and there were a couple of times he found guys in-stride with his long passes. It sucks that Los Angeles might be too far gone in the league this year for him to help out, but if he sticks around, he could make the next few years interesting for Los Angeles…
  • …but he’ll never be as big a hero to me as this guy is.

Permalink for a highlight reel featuring nothing short of the greatest American striker ever, and I still get chills every time I see the two goals starting at the 1:58 mark, because I saw both those goals live.)

Cornerstone – what I’m missing

From the Moveable Type blog, June 27, 2007.  If Jeff’s article on Cornerstone from 2007 is still extant, I’d appreciate if somebody’d say so.

In my crashed-out stupor this weekend, I forgot to note that an article by my good friend Jeff Elbel appeared in the Chicago Sun-Times, on the topic of Cornerstone Festival in Bushnell, Illinois. This is where I’d really like to be this week, both for the sake of the music and for the sake of my dear friends who are live-blogging the fest this week.

It’s a great article. And I’m not just saying that because Jeff called me and my elitist-mates asking if we could help out with the “For every rocker there’s a Christian counterpart” section at the bottom of the page. (I don’t think Jeff would have written that if his editors hadn’t asked him to; Christian music counterparts tend to be a dumb idea, especially when you have people like Flyleaf, Relient K and Family Force 5 who are pretty big in their own right; that said, it worked out AMAZINGLY well. I’m still in awe of calling Tess Wiley a mix of Shawn Colvin, Regina Spektor, and Liz Phair – that is just about DEAD ON. If you’ve never heard Tess before: here, have some.)

I’m also not just saying that because Jeff asked me if I could come up and help him out with mediastuff surrounding his band’s show at the fest, as if he liked having me around and stuff.

By the way, Jeff Elbel is an amazing human being. By the way, Jeff’s band is called Ping, and you can buy tracks from their latest album The Eleventh Hour Storybook on their MySpace page (including “Bark Along With Cody”, featured on the Dr. Demento radio program!), or you can order all of Ping’s albums through Marathon Records.

By the way: PLUG PLUG PLUG.


I got one chance to cover Cornerstone Festival on my last occasion attending, in 2006; what you read below was originally posted on the 2006 Cornerstone Festival blog on July 6, it no longer exists, and so the fact that I reposted this on the Moveable Type blog on June 22, 2007 is probably the last record of me having taken that gig.  So many of my other friends participated in the live-coverage blog, and it’s hard to know that the end of Cornerstone Festival in 2012 means I’ll probably never get a chance to work with them again in a capacity like this.

I fixed some linkrot, but probably not enough.

My postscript to the repost intro:  “Remember, as you read through this whole enterprise: this is a snapshot from the past. Any resemblance to this year’s fest, living or dead, is purely coincidental.”

The word stuck in my head, as I leave Wednesday and go into Thursday, is atmosphere.

I had a question yesterday as I did a bit of wandering about the grounds. One of the things that is has really sprouted like mushrooms since the last time I was here in 2001 is what I hear referred to as the “generators” – the little tents, and sometimes no tents at all, that are set up just so a smaller band can play and get some attention. (That’s theoretically the purpose of the New Band Showcase / Underground Stage / whatever it gets called these days, but there are only so many slots to play, and there are SO MANY bands.) I have no idea of the official status of these stages; I can’t imagine the artistic band that’s playing Encore 1 can be terribly happy about the thrash metal growlers right next door, and the acoustic people playing certainly aren’t (he attests from personal experience). But if there is a truly creative band doing their thing, that’s potentially one of the things that makes the fest for me. Hard question.

The problem is, most of those bands playing those “generators” don’t grab you at all. One of them sounds just like another, and I want to offer respect to all these guys putting together their own things, but dang it, how many random screamo bands can you listen to without getting a headache? I don’t want random screamo, I want something like The Juliana Theory (so sorry they had to call it a day) to smack me upside the head – yeah, Brett could scream when circumstances demanded it, but the melodies and the sound they generated was absolutely unmistakable. When you were listening to Juliana, you could tell it was Juliana.

All of this setup to say: I had something of a revelation while watching Bernard last night.

I’m not convinced that Bernard is that special technically. There were times in their set when they just boiled down their playing to the absolute simplest concepts. A chord on a keyboard, then a single note struck. Repeat several times. My daughter could do that, technically. Other times a guitar solo would borrow almost exactly from something you could hear a band like Dredg do on the radio. Because they only have three instrumentalists, they canned a great deal of the background stuff – and there are times in the audience where you don’t know what to do when you’re hearing music, but the present band isn’t playing.

And, with all that, Bernard’s set was one of the best I saw yesterday. Why?

Because Bernard has a sound. They have that distinctive thing that, for lack of a better word, I’m going to call atmosphere. It becomes apparent, while they’re constructing their song, that the song is building towards something – repeatedly I heard one of their songs start as a simple thing, add layers, build towards a climax, and then just blow at you with a WALL of sound. They know what they want to be, and they get there.

It didn’t work all of the time, but when it did work, it was absolutely phenomenal.

And at that point, I really thought about everything else I was seeing that was working, and started putting it into the context of atmosphere.

Take Jonezetta. What I heard going into the show was that these guys were something of a Franz Ferdinand clone or a Killers clone. And I could see how somebody who wasn’t looking for something could walk into the room and say “Yeah, that sounds like ‘Take Me Out’, that sounds like ‘Somebody Told Me’…” (What I thought, when I heard the first guitar riffs, was “bah! This is “10,000 Years” by Tim McAllister and Flock 14 all the WAY! I am so old.) All of that, at the end of the day, matters not – the band wasn’t trying to actively sound like anybody in any way other than employing any means necessary to get you off your feet and dancing around. (Was it Jonezetta who had the train of people marching around the tent getting their groove on in so many cool ways? Hey, I think it was!) Pulling in all of those tricks, a riff gathered here and there, the rhythmic pounding and pounding to set a pulsating beat, and even the old guys like me find ourselves doing that thing I can only describe as…erm…um…well, let’s just move on. [1]

As much else as I would like to have seen at that Relevant stage, because I am an older gentleman, and because I got into this Christian music scene by listening to bands like Daniel Amos and The Choir andthe 77s, I had to go to Gallery stage, set up the chair in the tent, and settle in for the night to hear old beloved songs that I only get to hear live every five years or so. Both the Lost Dogs and the 77s sets were outstanding, of course – they did put on “the most professional shows in Bushell, Illinois” – and others have already commented appropriately on this.

But this got me thinking about atmosphere as well. The Lost Dogs are Americana, thorugh and through. The music they’re doing and the style of their play fit into the great traditions of simpler rock and country. (Terry Taylor even joked last night that it was their dream to write a hit country song, and “If You Love Here (You’d Be Home By Now)” was just that dream. Agreed, agreed.) The 77s, in the incarnation they live in these days, are a blues rock band, and progressively turning more and more into a jam band with each passing year. (This causes great consternation because this consternation never crosses the path of songs like “Do It For Love” and “This Is The Way Love Is” often enough, but that debate is best saved for another day.) With the song that each set started with – the Dogs started with “Wild Ride”, the Sevens started with “Perfect Blues” – the tone for each set was established, and you knew what was coming. And you knew that nothing else played at this fest was quite like this, and you were so much the better for being there.

(Even if you were missing Underoath at Main Stage. I fully intend to be at Main Stage today. There will be Main Stage blogging. Thanks for your patience.)

A couple more things about the 77s and Michael Roe. I can’t give that man enough props for basically playing two separate shows in one night, over the course of three and a half hours, doing lead guitar for both, and having his creative juices flowing thoroughly through both. If you never have seen Mike Roe play, find a way to do so, even if you have to drive a few hundred miles to get there. It is well worth it.

And I know the man has heard the aforementioned consternation, and wishes that he could get people to love the stuff he’s doing right now half as much as they love the stuff he did 20 years ago. It has to get tiring to put out work that is what you love and adore and have a whole fleet of fans who do nothing but ask “Are you gonna play ‘The Lust, The Flesh, The Eyes, and the Pride of Life’?”

But “The Lust, The Flesh, The Eyes, and the Pride of Life” did get played last night. Twice. Once during the Dogs’ set, with Terry Taylor on lead vocals, and then once sung by Michael Roe himself.

And then – wonder of wonders – when it was time for the encore, Roe shifted gears on the atmosphere one more time, went from blues rock to nostalgia time, and broke out “I Can’t Get Over It” from what is, in my honest opinion, one of the greatest albums ever recorded.

And then, one more. Despite myself, I found myself pleading to myself. “Come on, man. You know you want to. You know you NEED to. Come on…”

And, as brightly as I ever remember, the guitar riff to “Do It For Love.”


I think I dreamed last night leaving a 77’s fan in 1986, walking away from Main Stage, singing repeatedly “do it for lo-o-o-ove, do it for lo-o-o-ove…”

Okay, whatever pretense I had of being a serious music critic is now officially shot.

[1] I simply could not type “getting jiggy with it” on the Cornerstone blog. I apologize for even THINKING it.