School of Rock

A few weeks ago, my wife Annie asked me to go with her to see her friend Melissa’s daughter, Morgana, perform in the School of Rock tribute to Queen.

“What?” I said.

“You know, ‘School of Rock,’ like the movie,” she answered.

I did see the movie starring Jack Black. For those of you who didn’t, it’s about a down and out rock musician who lies his way into becoming a substitute teacher and the only thing he manages is to teach to his students is rock n’ roll. The parents find out, are incensed, come out to see their kids play at a battle of the bands and....wait...isn’t this the plot to “The Music Man”? Oh well, out of this movie has now come The School of Rock Chicago.

I see. My wife, who has worshipped at the altar of Queen and Brian May in particular since she was a kid, wanted me to see a bunch of grade-schoolers performing rock opera? Was she serious? Indeed she was, and so, here I was on a Sunday afternoon, driving down to Reggie’s Rock Club to see a most unusual tribute to Queen.

I walked in the club as the band was playing their first number. By band, I mean a rotating group of about 20 kids. Several of the boys were decked out in Freddy Mercury gear, sporting slicked back hair, sleeveless white t-shirts and yes, mustaches. At the front of the stage were groupies, grade-school kids who would high five the musicians and scream at the end of the song. Behind the groupies were the real groupies, the parents who would also scream at the end of the song. I was surrounded by them, all armed with cameras and cell phones, recording each song and jostling for a good angle. Some of the moms seemed smaller than the kids and I wondered if there was a height requirement to have your kid in this school.

These parents were mostly in their 40s with the occasional bewildered grandmother hanging off on the side of the club, looking morose. The moms and dads were happily singing along to “We are the Champions” and “Bohemian Rhapsody” while their kids rocked out on stage. It was something to see some of the parents partying down, drinking beer and acting like it was 1982 all over again. And like true club patrons, they proceeded to talk excitedly about their kids while their kids were on stage performing. So in a way, it was a very real club experience for these kids as anyone who has been in a club knows that a lot of the club noise is not from stage, but from the audience talking. But all in all, there was an honest vibe to the parents. I sensed that the majority were not seeking glory for their kid, rather a great experience. So I took a deep breath, relaxed and enjoyed the show.

Like the movie, each of these kids had some talent. Checking out the school’s website, each student gets four 45-minute lessons on the instrument of his or her choice, as well as group lessons, jams, rehearsals and of course the concert. All in all, 16 hours a month for $300. And what about theory and that stuff? Well, the school kind of dances around it, saying “Our teachers introduce music theory in the context of other learnings (sic) and we hold group classes to cover music theory concepts such as chord construction, harmony, rhythm figures and so on.” But come on, like the movie, the school is here to get kids to rock! No garage band kid ever cracked a book on theory until much later in the game.

And these kids did rock! I was extremely impressed by some of the talent I saw taking place on stage. Two drummers were exceptional in my book, a blond-haired girl wearing a cape, who did a great solo during “Somebody to Love”, and a little African-American boy who sat at the drums and played his heart out on “We Will Rock You.” The lead vocalist for the boys was a curly headed kid who dressed the part of a rocker, complete with leather pants, no shirt, a leather jacket, tie and some sort of checkered police cap. He nailed “Love of My Life.” Several girls were natural talents vocally as well as on keyboards. The little boy (a dead ringer for DJ on “Roseanne”), who played a bicycle bell during, what else, “Bicycle Race” turned out to be a great bass player. And our friend Morgana did a great job on her solo for that same song, mugging expertly and dramatically waving her arms, commanding a huge round of applause from the audience. Not bad for a kid of 10.

Even the sound man was dead on. I had to give him credit as usually there were four guitarists, one bassist, one drummer, one lead vocalist, six backup vocalists hovering around a mic and even the kid holding a bicycle bell. Sometimes a crack of feedback would rip through, but the sound man got it quickly under control.

What touched me the most was that the people who were running the school were obviously not looking for the next American Idol. There was a great deal of fun and cooperation with the kids. There were mistakes made of course, but who doesn’t shank a chord when rocking? These kids were learning instruments, they were on stage and for gaw-sakes they were doing some decent renditions of the band Queen! Brian May would have loved that they delved into some obscure material like “Liar” and “Is This the World We Created?” I felt like I was in some school play about a band, but here we were in a real club and parents were drinking beer in front of their jammin’ kids on stage. Pretty unreal. However, there was no acting in the way the kids approached their music. They were most serious. Kudos to the teachers.

Our band camps when I was a kid consisted of blowing the trumpet to “God Bless America” and some other obscure piece that I can hardly remember today. But it was those sorts of band kids that got the movie “School of Rock” going. Would I have enjoyed being in a School of Rock? You bet. Did I enjoy seeing these kids enjoy themselves? You bet. Did I enjoy the parents rocking out? Absolutely. Does this replace the group of kids huddled in a garage listening to albums and practicing on their own? No way. But perhaps, once these kids “graduate,” they can start those bands and continue down the road as musicians. Maybe this will be their one shot at rock and some of these kids will get it out of their system. All the better than to spend years to find out you really never wanted to be a musician. But for those kids who persevere and become true independent musicians? I hope these kids will stare the business mogul in the eyes and mutter Dewey’s famous quote from the movie: “I don’t wanna hang out with a bunch of wannabe corporate sellouts. I’m gonna form my own band and we’re gonna start a revolution, OK? And you’re gonna be a funny little footnote on my epic ass!”

We will, we will rock you.

Marty McCormack
Switchback
www.WayGoodMusic.com

Switchback's new additions!

We would like to introduce you to the musicians who sometimes accompany Switchback on the road:  Nick Hirka on drums and ukulele and Paul Russell on violin and guitar. You may have been fortunate enough to hear them play along with Switchback at some of our recent shows.

Nick Hirka is a drummer from Des Plaines, Illinois. He met Brian and Marty quite fatefully at a church picnic/anniversary celebration in nearby Rosemont.  Nick got the call, heard that "an Irish duo" was headed in to write and perform the Mass, and, interested, headed over for their first meeting and rehearsal. Switchback and Nick would meet again to play the outdoor Mass on a beautiful summer day, and after sitting in for a few post-Mass original numbers, Marty and Brian invited Nick to the Haybarn Rendezvous in Iowa that coming weekend. It took just that one weekend at the Natural Gait for Nick to be sold...

Nick told us:

...I was in. That festival changed my musical outlook. I'd been drumming seriously since I was 12 or so. I struggled the romantic struggle of a high school musician. I played in several bands after graduating, played all Chicago's venues...Then suddenly, I'm in a candlelit cave, legs sore from a forest-path load-in, playing Celtic songs. It was calm. Eclectic. Free. I felt at home.

I work a day job as a tutor, in perpetual search of high school English teaching jobs. Students I tutor think I'm cool because I cancel sessions to travel to gigs. Parents dislike me for the same reason. I'm a jack of many trades, master of drums. I can get by playing piano, and I play bass guitar fairly well. I picked up the ukulele last summer and have somewhat vigorously taken to it - Switchback has worked it in to the set at points. I have a 5-string banjo being built for me by a luthier in Arizona. I draw pretty well. (With ink.  I'm not a 'slinger.)

I've already met a tremendous number of wonderful people while traveling with Switchback, and I've already seen some wonderful places with them. I've started documenting, in loose diary form, places I've played, something I hadn't done until I started playing with Marty and Brian. I look forward to more shows, always - this band is something I've started into and am engrossed in. I have trouble wrapping up projects, trips, and ventures. And written pieces!

Paul Russell, on top of being a gifted musician, an adventurer, and a blacksmith, happens to have known Brian FitzGerald all of his life since he is Brian's sister Sheila's son and thus Brian's nephew.  Paul provided the beautiful violin accompaniment on our Ghosts of the River Folk album.  How did Paul get into music?

Paul told us:

On a quiet evening I took a walk with my father to a shop on Roosevelt Road.  When we got back home, I started scratching away on my first violin.  I was five years old.  Twinkle, Twinkle Little Star, Go Tell Aunt Rhody, and Hot Cross Buns were among my first accomplishments, and before long I was playing concertos in D flat major and mazurkas in B flat minor.  I had a good go with classical music into high school, but after discovering improvisational music, a new path was found.  I attended Columbia College in Chicago for a year and a half, majoring in music composition.  Like classical music, it was a good experience, but something was not fitting.  You can find me now on the day to day at Lawndale Forge and Tool Works where I work for my Dad and Uncle, who worked for their Dad, who worked for his Dad, and on and on.  My Great-grandpa made horseshoes and shoed horses in Chicago.  I plan to continue playing music as long as I've got fingers on my hands and brains in my head!

One of Switchback's most recent tours with Nick and Paul included Switchback's New Year's Eve performance in Ontario. Imagine being in Canada for the first time and not freezing your behind off! Had they been with Switchback on the previous year's tour, they would have had the normal 20 below experience. When asked about their time in Canada over the New Year's holiday, here is what Paul and Nick had to say:

Paul told us:

'Twas the best of times, 'twas the worst of times.  Most importantly it was New Year's in Canada.  Moose and partridge were eaten, scotch was drunk, music was played, and sap was tapped from the island maples for premium maple syrup.  In short, people were hospitable and gracious.  In long...well, the drive was pretty long!  Just before leaving Chicago, I had the front ball joints replaced on my car because they were about to pop out at the next big pothole. When the car started bouncing and swaying back and forth during the first half of the drive, I figured the mechanic (who happened to be Nick's dad) had messed up.  Then Nick and I heard a flapping sound, and the right rear tire blew out at 70 mph.  We had a spare though and were back on course in no time.  So it wasn't the mechanic's fault after all and the car drove fine for the rest of the time and to this day.  Yes sir, 'twas the best of times, 'twas the worst of times, it was New Year's.

Nick added: 

O Canada!

That cold and distant land!

(True, but not for us...'twas 45, just grand...)

With glowing hearts we see thine lights

The Clansman, finally!

Tucked in, inside,

O Can-I-sleep while moose cuts wait for me?

God, let me drum well on New Year's Eve

O Will-I-starve while partridge waits for me?

O Canada! It's been too warm indeed.

O Canada!

Where pines and maples grow

Bears rest outside, during our five hour show

As midnight falls, the temp it drops

But indoors faces glow!

Folk of the isle,

O Can-ya-yell, "It's New Year's on St. Joe!"

Those who I met were "maple syrup" sweet

O Can-I-stay with Colonel's family... if

SO, Canada, you'll see returns of me.

Please join us in welcoming Paul and Nick, our newest members of the Switchback team!  The next time you are out and see them with us, please come up, introduce yourselves, and help make them feel like part of our WayGood World.

http://www.waygoodmusic.com/

Save the Last Dance

New Year's brought about what has become an annual trek up to Michigan and Ontario, which we call the Northern Lights Tour. Now, it's a rare occasion when either Brian's or my wife will go along for the ride, but my wife Annie decided to travel the nine hours it takes from Chicago to northern Ontario. I was glad, too, because the Canadians were beginning to think that Annie was a figment of my imagination.

Annie is no stranger to Switchback road trips. When we first met, about 10 years ago, she used to accompany us on lots of road trips. The truth is, going out to a gig usually means getting into the already crammed and questionably hygienic minivan ("Smells like bachelors in here," she used to say), traveling for hours on the road while we practice our vocal exercises, and arriving at the gig to help us unload equipment and watch us work. With 200 shows a year, that can put a dent in one's personal life. But, enticed by the chance to head up to Canada, Annie said yes. Then she asked me if I would dance at least one dance with her on New Year's Eve. "Sure," I said, "No problem." The fact was, it was going to be a challenge. Playing in the band means that I would have to figure a way to get someone to play bass while I dance with Annie. How was I going to figure that out?

Brian and I headed up north first, so Annie didn't have to ride this time in the "bachelor van." We had some great Michigan shows, including a sold-out performance to benefit the Historic Elk Rapids Town Hall. Stephanie O'Dell, a great singer and friend of the band, joined us onstage to sing several holiday songs, including "I'll Be Home for Christmas," which she dedicated to her Navy boyfriend, Brent. It was a tender moment in the show and everyone got a bit misty-eyed.

After another successful concert in Grayling, MI to benefit the local Rotary Club, we headed over the Mackinac Bridge and into the U.P. Finally, it was time to cross the vaunted US-Canadian border. At the border, the Canadian customs guy was friendly-like. "Where are you going?" he asked.

We have learned that to cross easily you don't say, "I am going to see my friends and stay at their cottage on St. Joseph's Island." No, you have to lean slightly out the window, nod your head a bit, and say, "I'm headin' to my friend's camp on St. Joe." If you have a St. Joe cap, that helps even more. Of course, I didn't have my cap on and my long hair always gets a question or two.

"Where did you meet these friends?" he asked, leaning a bit toward me, "At a terrorist convention?" I think he was trying to throw me off a bit. He was successful.

"Um, no, uh, they're fans," I stammered. Should have put the hair in a ponytail.

"And why would anyone live in Iowa?" he asked, looking at our Iowa plates.

That one stopped me for a second. "Uh, he lives in Iowa," I said and pointed at Brian, "And someone has to live there, sir?"

"Go ahead," he said, handing me our passports and waving us out of his life.

Annie came up that night from Chicago with our fan club president Chris Pardee. Of course they had no problem at all crossing the border.

By the time they arrived, we were already set up at Central United Church for the big holiday concert. Another benefit, this concert would help finance a new roof for the church. Central United is a beautiful building. One striking feature is that it boasts one of the largest pipe organs in Canada. The organ, built in Holland, is impressive, with pipes reaching for the ceiling and bristling outwards toward the congregation like a battleship swinging all its guns to port, impressive and beautiful. The real beauty of it was the life that came out of it when Paul Dingle, the musical director, proceeded to play. Meeting Paul was like meeting a brother. He instantly understood what we were trying to do with our music and it was as if he had been part of the band for years.

A great number of our Canadian fans had arrived from different parts of the province. Over four hundred people packed into the church. And there were a lot of folks who had never seen us before. We brought Paul up to the organ to play "Love Won't Run Away" and I got chills as the organ created the deep mood of a dark Irish sea. The audience was thrilled, including some folks who were from County Mayo, Ireland. I introduced Annie to the audience and she smiled and waved with some polite embarrassment. It was nice to finally have our Canadian friends meet her.

New Year's Eve arrived along with the rest of the full band, Paul Russell on fiddle and mandolin and Nick Hirka on percussion. The Colonel came in with his recording equipment and we recorded a new song, "The Measure of the Master," for a sound check. Things were looking good. It was time to head back to our rooms to get ready for the evening. Annie put on a beautiful Chinese silk gown. "You look great," I said.

And like the other concerts, we had a great turnout for the event, another sold out evening. Folks were treated to prime rib, champagne, and of course music. I realized we were surrounded by a wonderful mix of Canadian and American fans who came up to see us play. And for me, the greatest gift was that my wife was there to share the evening with me.

We started our first set at 8 p.m. and proceeded to play as the party horns and hats were passed out in anticipation of 2011. I looked over at Annie and mentally made a note that I would have to pick a time to get out and dance with my wife.

Soon it was 11 p.m. I was getting nervous about how I was going to be able to dance with Annie. I had hit a snag. It seemed impossible to figure out how to pull it off. All the slow songs were sung by me. Perhaps if I could get another band member to take the bass? We were in the middle of the set and I turned to Paul Russell. "Can you play the bass?" I asked. "What?" he asked. At that moment, Brian's guitar went out, leaving Paul holding the melody on the violin. Exasperated, Brian called for a break, we got off the stage, and I sat next to Annie. I could see Fitz fuming on the stage, pulling cables and trying to figure out what had happened to his guitar. It turned out to be one cable that decided not to live to see the New Year. He got it fixed and we took to the stage.

Soon, Neil Caughill, our official St. Joe timekeeper, came up to the stage and showed that it was five minutes to midnight...just one more song in 2010. It was now or never to keep my promise. So, I jumped down from the stage, bass and all, and proceeded to "dance" with Annie -- that is, play my bass and hop around while she put her arms around my neck with the guitar making a wide gap between us -- as we played "Jesse Taylor's Nightmare." Brian jumped from the stage as well and soon everyone in the hall was on the floor dancing. Annie shook her head at me and smiled. It wasn't exactly what either of us had in mind for the last dance of the year, certainly not the romantic slow number that I had envisioned.

Our success in Switchback comes from a great deal of support (and sacrifice) from friends and family. They have helped us through every twist and turn on the trail. Our wives, especially, have been very patient and committed to our dream of being independent musicians. They have celebrated our successes and bolstered our confidence during the low times. It is difficult when we are apart, and sometimes the best we have to offer them is an awkward last minute dance when we are together. But awkward or not, it's a great gift to be able to share your passion with someone who believes in you and sees you for who you are. I can't ask for anything more when I am attempting to dance with my wife with a big acoustic bass between us and she is willing to put her arms around me, smile, and dance the last dance of the year with me.

Happy New Year,
Marty

Write on about songwriting!

Switchback is offering its first songwriters weekend to take place April 8-10 at Four Mounds Inn, Dubuque, Iowa. The spring seminar will feature noted songwriter and leader of Lamb's Retreat Songwriting Weekends, John Lamb.

"So far the biggest question we have received is whether one has to be a songwriter to attend," says Marty. "Not at all! The main reason for the weekend is to offer a place where people can learn about songwriting and hone their songwriting skills. So we are hoping to get all ages and all skills from novice to professional."

Brian and Marty are very excited about John Lamb as their first guest songwriter. Lamb has been a professional musician for over 25 years. His retreats have brought in some of the most talented songwriters on the music scene today and allowed them to work one on one with people. At the same time, these professionals are also given the challenge to write a song over the weekend. Everyone collaborates and the result is a great time with an emphasis on enjoyment.

"John has made his weekends fun," says Brian. "He assigns each person a topic that he creates for the weekend. From there, the songwriter has to work in groups, with one of the songwriters and of course on their own to create their work. If they like, then it is played for everyone toward the end of the weekend. It's a no pressure, laid back situation which has everyone learning something about songwriting. We brought him to our weekend to make sure that we have the same sort of good time."

The Four Mounds Inn as a setting will certainly help with any necessary inspiration. Situated on a bluff overlooking the Mississippi River, it is a Dubuque Landmark Site, is listed on the National Register of Historic Places and is a Silos and Smokestacks National Heritage Area affiliate site. The estate consists of nearly 60 acres of bluffs and boasts cultured grounds, historic gardens, woodlands, prairie and rare oak savanna. The site is focused around the historic Grey House, a 1908 Arts & Crafts styled mansion designed by the Chicago architect Lawrence Buck. The cultured grounds were planned out by Chicago landscape architect A. Phelps Wyman.

The staff will offer fantastic prepared meals and accommodations are available at the historic Inn grounds for those outside of the Dubuque area.

"We hope to get about 20 people to sign up as well as some sponsors so that we can make this an annual event," says Marty. "There isn't a songwriting opportunity such as this in central Midwest. We would love to draw people to write at a wonderful place during a wonderful time of the year."

Information and reservations at http://www.waygoodmusic.com/

Larry Weir, Wish You Were Here

Larry would have loved the latest news from Washington, I think. When I think of independent community radio, I think of Larry Weir. He was a beloved DJ and driving force behind KDHX radio in St. Louis, arguably one of the powerhouses of independent community radio in the Midwest. About a year ago, Larry slipped on ice and suffered a traumatic brain injury that resulted in his death. With his passing the world lost a fantastic advocate for community radio, which is the lifeblood of original, independent music and hopefully soon to be the great leveler of the commercial radio industry.

I am an independent musician and so yes, I am biased in favor of good music that challenges the monolithic music industry. I have a great deal of admiration for community radio all over the world. It has been community-based radio that has helped bring my band to the attention of new fans everywhere. Midwest Radio in County Mayo, Ireland; WEVL in Memphis, and Folkland radio in Germany have had DJs who have dedicated their lives to the pursuit of what I would call “real people music.” Being an independent musician in the great music town of Chicago, I am embarrassed to say we don’t have an equivalent outlet for the variety of musical programming as KDHX. Our closest approximation of it is WDCB, a 5000 watt station in Glen Ellyn that has a broadcast signal which can’t reach the entire city. In comparison, KDHX is a 42,000 watt station. I was happy to find out that WNUR, the Northwestern University station, has a 7200 watt range and one of the most powerful transmitters of any college in the country. Admittedly, I don’t know too much about what is played on WNUR. The only person in commercial radio who seems to care a bit about independent music is Richard Milne, who is given a paltry 30 minutes on Sundays on CBS-owned WXRT to play his show “The Local Anesthetic.” Nevertheless, kudos for the 30 minutes!

WBEZ, our NPR station, gave up on music just as I was starting to get in the business. For a brief moment in time, WABT attempted to showcase Chicago music, but financially it couldn’t keep going. My wife bypasses Chicago stations completely and opts for KCRW on the net to listen to new music.

As I said, Chicago is a great music town. It started country music with its “Barn Dance” show on WLS. It was the town that created the blues that influenced the Rolling Stones. And it is home to a plethora of independent artists ranging from Wilco to Nicholas Tremulis to bands like the Yellowhammers. Yet it does not have one radio voice that represents our current musical diversity. Perhaps that has something to do with Chicago being known as the “City of Neighborhoods.”

That said, there is hope for Chicago and other communities. Congress finally passed the Community Radio Act at the end of last year. In layman’s terms this means that we can have 100 watt stations that can serve various communities with independent political and musical thought. It doesn’t help our situation much in Chicago as far as having one city-wide station. I did find out that even a 100 watt station on a 150 foot high mast can broadcast 50 miles. That could eventually help us here in the Windy City where we are known for some tall buildings which could support such a mast.

How that will actually work is better left to the experts, but there are a couple of golden opportunities here. The most important one is that neighborhoods and communities can support their independent artists and cultivate appreciative listeners. And in turn, indie artists and music fans can be a force in their communities. By streaming on the Internet, it is possible for a small station to garner a large following outside its community. The independent artist community and its fans will have that many more stations to reach out to as well.

If we do see a surge in the number of Low Power FM Stations, that will be an opportunity for musicians to get their music heard, both recorded and live. It will be the closest thing to the day when a musician would travel from station to station to showcase original music. It will also be a chance for music fans to be introduced to music they would not hear otherwise.

As a musician, I can say from experience that being heard and getting played and playing live are necessary for the growth of my career. It was crucial for Switchback to start out playing community and public stations. They provided the outlet for us to be heard. Since we never had the backing of a major label, this and the Internet would be the only media venues available to us.

The Internet didn’t really start “happening” for music until the 90’s. For youngsters that might bring about a yawn, but I can remember giving out my mailing address in America on Irish radio so people could buy our cassettes. A lot has changed quickly.

So what should people do? First, visit the Future of Music Coalition at http://futureofmusic.org/research and get acquainted with what can be done to help keep independent music alive. These people are working to make sure independent musicians keep making music for the masses to hear. Second, support your existing community radio stations, either by donating (which they love and need) or simply sporting their stickers on your car. Or both. I proudly carry KDHX on my bass guitar case.

My guess is that Larry would have loved the passing of the Community Radio Act. If only he could have been around to see this day when the chance of having community radio stations across the country was finally sanctioned by the government. I think he would have been happy to see communities creating low power stations that can enable more artists to create and provide more music for fans to appreciate those artists. And not only music, but drama, civic action, and neighborhood news can be presented as well! It took a long time, but it has finally arrived. Will it correct the past two decades of mainstream radio mismanagement? It’s up to the people to decide.

Martin McCormack
Switchback

http://www.waygoodmusic.com/

Concert Review: Switchback fills Town Hall with holiday spirit

It’s amazing how much sound can come from two guys with guitars, using no percussion other than foot-stomping and guitar-slapping. No electronic mumbo-jumbo like beat boxes or pre-recorded back-up music was present, which is a welcome treat and a tribute to tradition.

Martin McCormack and Brian FitzGerald have been performing together for a long time, and it shows. Their camaraderie is obvious and their timing, accompaniments and harmonies are impeccable. Also impressive is their sense of mixing up the selection and tempo of the songs they play—a wonderful mix of ballads, rabble-rousing, original and traditional.

I saw them perform in Elk Rapids, Michigan December 28, 2010 (to a full house), a benefit concert for restoration of the venue, the historic town hall. Marty told the audience that he and Brian have an affinity for tradition, which explains some of the music that Switchback performs, but also is the reason they often play in old buildings with a history and, hopefully, a future.

At this particular concert, they threw in a lot of Christmas favorites and sing-a-longs. It was a few days past Christmas, but there was still plenty of Holiday spirit in the crowd, which was remarkably in tune. Sometimes when a band asks the audience to sing, it is fun, but audibly grating. Not the case here. It almost sounded like a practiced choir. Switchback does a great job of including the audience in their musical magic.

I was with my wife and three of my grandchildren (7-8-year-olds). Granddaughter Jenna showed a knack for music reviewing when she noted how amazed she was that Brian could play so many different instruments. She wondered why they played some songs with no words. So that night she learned a new word: instrumental.

The prowess of Brian on guitars and mandolin made my fingers hurt just watching him, and prompted grandson Max to ask “how does he strum so fast?” He also noted that Marty can really kick his legs up high.

Local up-and-comer Stephanie O’Dell joined Switchback at various times on stage, and she was superb. She got understandably emotional when she pointed out her significant other in the audience, who was home for the holidays from the Navy.

Switchback and Stephanie made this more than a concert. It was a true community gathering.

–by Don Weeks, Elk Rapids, Michigan, with help from Jenna & Max
photo by Jim Sundberg. Originally posted on Elk Rapids Live 12-30-10

http://www.waygoodmusic.com/

Jingle Keys, Jingle Keys, Jingle all the Way

Saturday night was the annual Midwestern Christmas Concert held at the Thrasher Opera House in Green Lake, WI. The Thrasher Opera House is a beautiful building, built by one Charlie Thrasher back in 1910. Edifice it is not, rather a practical structure, with a good sized stage on one end and a modest balcony on the other end. On the floor between the two are plush red cushioned chairs, which have come a long way from the original wooden kitchen chairs that were part of Charlie’s decor. Above these chairs, spans a delightful tin ceiling that curves on the sides, giving the ceiling a modest arch effect. This arch helps the acoustics in the building quite a bit and it is easy to stride from the microphone and deliver a song from the edge of the stage. Cheery and intimate, it is the perfect place for us to have a Midwestern Christmas.

So what makes a Midwestern Christmas show? First it needs to have good winter weather. Last night was brisk, about 15 degrees outside, and the snow was pretty thick on the ground. One doesn’t wish to have a raging blizzard or a snow melting, grass revealing rain. It just needs to have enough cold and snow that it sets the scene for what is to happen inside. Last night also had a bright, three-quarters full moon, which was a bonus.

Next, you need good Christmas decor. In the Midwest, that means something not too over the top. Leave the shaking, singing Santas and blinking pink and purple lights for another part of the country. The Thrasher nailed it, with a Christmas tree on stage, some wreaths either side, some simple pine bunting and little candles in the window. It brings back a nostalgic air of yesterday, when things were a bit simpler and less commercial. Of course, that is today, because Midwesterners pride themselves on keeping things good and simple.

The delivery of the show has to be laid back Midwestern. Brian and I came out on stage and immediately launched into some nice Irish jigs. The first thing I heard was the soft thumping of feet on the floor, keeping perfect rhythm to the music. “Veterans”, I noted to myself. Other folks were looking around, sort of amazed at this display of impromptu audience participation. So, when we finished, I asked how many folks were seeing us for the first time. About half of the theater raised their hands. Now, one must tell Midwesterners that it is OK to relax. Especially Minnesotans as the Norwegians are the toughest ones to crack. Or else it could be a quiet, polite evening. So we told them to clap their hands when they want, make a comment when they wish, hoot, whistle, stomp feet and cheer, as after all, this is their show. And thus freed, they did. You don’t get this behavior every day. So it makes a Switchback Christmas show uniquely special.

One tradition that started in Green Lake is the famous Christmas Key Choir. Sort of like a handbell choir for those who prefer driving cars to playing handbells. We started in on Silver Bells and immediately the choir took its place, bringing out Fords, Chevy’s, Toyotas, home and business keys and shaking them in a nice soft jingle that sounded like a far away horse drawn sleigh coming through snowy woods. The Christmas Key Choir was in wonderful form that night, with a rousing solo on Santa Claus is Coming to Town and a frenetic paced Jingle Bells. Some of the folks who had fancy cars were a bit hampered by the plastic encased keys that have electric door gizmos on them. One newcomer, a young lady, mentioned that she was caught unprepared for the Christmas Key Choir. “I just had a few keys, they didn’t jingle so well,” she said, holding up a Lexus key gizmo thing. “But, I will be bringing more keys next year!” I smiled. Now, that’s a Midwesterner, getting the right number of keys so the choir isn’t let down.

Another important item is the selection of songs. In the Midwest you have to pick some good old Christmas carols as everyone knows these by heart. Young and old have no problem singing Christmas carols in the Midwest. You might have someone who is too shy to sing on any other night of the year, but start in with Away in the Manger and the inner alto or tenor comes into blossom, and strangely on key, too. And even harmony! The best Christmas Carol is Silent Night. I bet even the most ardent atheist would have felt a bit verklempt as we all sang together without any accompaniment, just the voices swelling in a reverent, beautifully balanced version:

Round young Virgin,
Mother and Child,
Holy Infant,
So tender and mild

Our folks were such great singers that Brian and I asked them to join in a Switchback Carol called The Little Stranger in the Manger. A call and answer type of song, they did fantastically well, and soon we had the place rocking like an old fashioned tent meeting. Several times during the evening, Brian and I stopped singing altogether, letting the audience sing away.

They were also wonderful with special effects. Brian introduced Hockey Games and suggested that we need appropriate ambience for the introduction. Immediately some whistling wind and lonely wolf howls filled the hall. All Brian would do was mention, “Ambience!” during the song and everyone joined right in. You can view the video by clicking here.

Speaking of animals, the other must-have for a Midwestern Christmas is the presence of one at the show, preferably a dog. Midwesterners, even the city dwelling type, are truly only a step or two from the farm. They know how vegetables are raised and that the ground beef was walking a week ago. And with this rural mind-set, a traditional winter evening gathering of hearth and fire, with a faithful friend at one’s feet, is hot-wired into the psyche; a return to the pioneering days perhaps, or at least to watching Little House on the Prairie. We were blessed by a beautiful golden retriever that accompanied his master to the show. A Seeing Eye dog, it was quiet and well behaved and laid down at the foot of the stage, napping during our numbers. It was a perfect addition to a family-style evening.

Finally, the true Midwestern tradition had to be present: A door prize. Before the show, we asked Martha from the Thrasher Opera House to pick a chair for us to tape a copy of the Turf Fire DVD under. I memorized the location...row three, seat three. Or so I thought. I was flummoxed to see that during the show that seat was empty, being used for a coat rack. So before our last number, I called out, “We have a door prize!” An excited buzz filled the Thrasher. Since I thought it was the empty chair, I told folks to look under the empty chairs. Nothing. I told them a big hint, the only empty chair in row three. Nothing. Now I was really confused. Brian then mentioned to me sotto voce that he thought it was row four, seat three. “OK,” I said, “Everyone look under your chairs!” And with that folks went diving under their seats and one happy lady came up with the prize. We autographed it for her after the show.

We shook everyone’s hands and bade everyone a Merry Christmas as they headed out into the cold night. People were already talking about next year. And some folks mentioned they had traveled from over three hours away to be part of this night, which was a real honor. The pedal steel player from the band, the Yellowhammers came all the way up with his wife from Chicago. Their friend went home with a Switchback jacket. We told them how excited we are to have the Yellowhammers play at the Haybarn Rendezvous this coming August.

Within minutes, the Opera House was deserted; the stage cleared of the guitars and packed up into the idling van. We shook Reilly the soundman’s hand, thanked Roby for letting play at the Thrasher and gave Martha and all the lady volunteers a kiss. And with that, we were off, driving down snow banked country roads with the moonlight gleaming on fields. We passed a silo that had a big Christmas star gleaming on its top. I watched it get smaller as we headed south toward home; another Christmas celebration in the heart of the heartland.

And to all, a good night.

~ Marty

Switchback's Debut in Fort Smith and Second Street Live

So down to Fort Smith, Arkansas we drove. We arrived 12 hours later in a town known as the last stop on the Trail of Tears where the tribes were given a final meal before they were banished to the plains. Fending for ourselves, we scoped Main Street for a place to eat. We heard the unmistakable sound of live music coming from one of the local watering holes.

As we approached the club, we saw this long-haired guy perched behind a drum kit, partially blocking the entrance, and thumping along to Guy Clark's "Desperados Waiting for a Train." This person represented the intimidating doorman and his presence meant a potential cover charge, which is enough to strike fear in the hearts of traveling Irish musicians. And when the guy collecting the potential cover charge is wielding not one but two wooden sticks, intimidation goes to fear and then to panic. From the outside, the joint gave no indication of serving hot meals for hungry, itinerate musicians. So we walked a half a block to a sports bar where we had dinner, then returned to the hotel for a good night's sleep.

The next morning after breakfast, John Pearce, the artistic director for Second Street Live, picked us up and brought us to our first gig, an assembly for music students at the University of Arkansas. Imagine our surprise when we were introduced to our sound technician, Tom Ware, our phantom doorman from the night before. Not only was he not a doorman, but there was no cover charge. He was just drumming along with a band playing covers. Tom turned out to be a gentle soul who also played a tender, thoughtful, moving violin. How do we know this? Because he put Marty in a headlock and forced us to let him sit in on our set that night!

Yes, the technically gifted Tom was also an accomplished musician. Over lunch we learned that a long time ago, he attended beer school in Milwaukee. Along with other notable Texas musicians, the noble Lloyd Maines and the Maines Brothers were among his fellow classmates. Back then, the beer companies took time to instruct musical entities. They would sponsor you, but you had to play by their rules (drinking only their product on stage being an obvious one).

The evening's concert at Second Street Live was on Veterans Day and "Falling Water River" received a standing ovation. The sold-out concert was a great success. After saying farewell and signing DVDs and CDs, we joined John and a small group of friends and headed over to the same watering hole that struck so much terror in our hearts the night before. A singer-songwriter solo act played to a handful of people nursing their drinks. It looked like a pretty laid back night until a trio of lovely young ladies herded in a confusion of revelers from a nearby Irish pub. The young ladies, having seen our concert, spread the word and we found ourselves cloaked in warm hospitality, Fort Smith style. We have already made tentative plans to return to Fort Smith, Arkansas, and we recommend this as a must-do Switchback road trip.   ~ Brian FitzGerald

http://www.waygoodmusic.com/

A Night at the Focal Point with Beatle Bob

Saturday was a special night at the Focal Point in St. Louis as Switchback brought a "present" to the audience. The second half of the evening featured a set with the full band, which included Nick Hirka on drums and Paul Russell on violin. And in return, Switchback received a present in the person of the legendary Beatle Bob, who came in to dance to the band. According to musician lore, having Beatle Bob at your show means that your show is the hottest ticket in town. Bob has been going to shows all over the country and has developed a following from those who have created a fan site in honor of him, to those who created a site to get him to sit down. Wikipedia has the full story of this eccentric, but truly devoted live music follower. http://en.wikipedia.org/wiki/Beatle_Bob

Switchback has always looked at Beatle Bob as a sign of good luck and that they are on the right track. Beatle Bob was thrilled with the show and taped a testimonial later to present to fans, exhorting them to come out and see a Switchback concert. The concert at the Focal Point was one of the largest yet, with all seats taken and standing room only in the back. When the full band hit the stage, some impromptu dancing broke out, started by super Switchback Fan, Dancing Donna. Half the audience was new fans, a large number of them brought in by Switchback fan Brenda Sobeleski. Two special moments occurred when the band dedicated "The Moon" to STeamers Helmut and Sarah Koch, and when proud grandma and Focal Point presenter Carol Kuntz held up a phone so her new granddaughter Olivia in Seattle could hear "Stellar Jay's Wing" played for her. Her daughter said she liked the soothing song that features the soaring violin of Paul Russell. Switchback will return to the Focal Point for a Saturday concert on June 4, 2011.

http://www.waygoodmusic.com/

Switchback at The Center for Head Injury Services in St. Louis

One of Brian and Marty's favorite things is to reach out to the community when they are in town for a concert. And that is what they did this past Monday, when they visited the Center for Head Injury Services in St. Louis. A part of St. John's Mercy Medical Center, the center is a place to help people have a full and vibrant life.

A full and vibrant show was what took place, with residents getting in on Switchback's act. There was dancing to Switchback originals as well as some "spotlight" moments, such as when one resident lead everyone in singing "I Got Friends In Low Places". Switchback made friends in a great place that afternoon and presented the center with a DVD of the Americana Sessions to watch. A return in the summer is planned that would incorporate a picnic for residents and their families.

Hi Marty and Brian,

I just wanted to thank you again for coming to perform for my group on Monday...they really enjoyed you guys. We watched the DVD yesterday and everyone clapped and cheered after each song (it was really cute!). I hope that you had a safe trip home and that the holidays bring you both happiness and peace!

P.S. Regina says that you both have a little bit of "Soul" in you!

With Kindness,

Lynne Cruse
Reb. Specialist
The Center for Head Injury Services
http://www.headinjuryctr-stl.org


http://www.waygoodmusic.com/