And this year, as you’ve got to know, the Dat nation has been gifted the perfect storm of a Super Bowl ring during Mardi Gras thanks to The Saints! The excitement is palpable, even up here after watching the post-game bedlam and the Black & Gold Super Bowl parade last night. It’s like pouring gasoline on a flambeaux! Throw Me Sumthin’ Mister!

The regular Mardi Gras parades will continue rollin’ down St Charles in the next 6 days before Fat Tuesday — about 25 Krewes will parade on huge floats as people line up to catch beads, doubloons, or if you’re lucky, gilded coconuts from Zulu.

It’s a deep, 150-year tradition that even Katrina couldn’t stop. The “season” which begins on the 12th Night of Christmas (Jan 6th) and culminates on Shrove Tuesday, the day before Lent (Ash Wednesday), includes more than two weeks of parades and unpublicized street parading by Mardi Gras Indians who roam New Orleans’ neighborhoods in full, hand-stitched “suits” of feathers. It’s krazy.
Kingcake house parties are the norm and you can get one for yourself here in Seattle at Borracchinis (call first) or at Marcela’s Cookery in Pioneer Square during their Wednesday kingcake lunches (if you get the baby, lunch is free!).

Since we can’t be down South this year, we’ll bring ya the classic sounds of New Orleans and get you as close to Rampart & Dumaine, at least in spirit. And you’ll definitely hear funky folks like these on Greg Vandy’s 10th annual Mardi Gras show tonight! Who Dat?!

Professor Longhair, Rebirth Brass Band, Wild Magnolias, Earl King, Dr John, Kermit Ruffins, Huey Piano Smith, Eddie Bo, Wild Tchoupitoulas, The Meters, Champion Jack Dupree, Dirty Dozen Brass Band, Danny Barker, Jesse Hill, The Neville’s, Pin Stripe Brass Band, Al Carnival Johnson and much, much more.

It’s a sound only New Orleans can make! Check this super old-timey footage of Mardi Gras in New Orleans.

Frank Fairfield with Greg Vandy
photo by Jill Rachel (more)

Two weeks ago, old time blues musician Frank Fairfield stopped by The Roadhouse with Greg Vandy to play songs from his new album and some traditional favorites. While just in his mid-twenties, Fairfield is a man out of time, looking and playing the part of a 20’s Dust Bowl rambler, with ankle-high wool trousers, buttoned up oxford, tweed coat and hair waved with enough Dapper Dan pomade to make Ulysses Everett McGill jealous. But lest you think this all some hipster affectation, one listen to Fairfield’s deft fingerpickin’ and rustic voice, you wouldn’t be able to imagine him any other way. And despite his youth, his breadth of knowledge of pre-war American music is wider than some thrice is age: he collects shellac phonographs and has his own radio show on which he plays his old 78s.

Armed with his banjo, guitar and his grandfather’s fiddle, Fairfield only lacked the coffee can typically at his feet when he plays farmers markets where he resides in Southern California, as he performed these songs live on The Roadhouse:

photo courtesy of Rodriguez

Tune in during the 7 o’clock hour tonight for an original 45-minute piece on the Detroit cult-icon who is playing his first ever show in Seattle, Tuesday 6/23 @ The Triple Door before touring the remainder of the West Coast. The feature includes an exclusive interview with Rodriguez and the man who tracked him down in the late 90s, Stephen ‘Sugar’ Seegerman.

I’ve been calling this The Story Of The Year ever since local Seattle label Light In The Attic re-issued Cold Fact, Rodriguez’s debut record from 1969. You’ve heard songs from this album on KEXP for some time now, and it’s one of those lost records you can’t believe you’ve never heard. It’s a solid collection of songs.

But it’s the story that continues to blow my mind!

Imagine you made a couple of records that went nowhere, the label goes belly-up, and you forget the whole thing and go back to working construction in inner Detroit (well, try to imagine). Then 28 years later, you find out that in South Africa (and Australia) you’ve been huge ever since Cold Fact came out. Like HUGE. And that everyone there thought you were dead. And you’re nearly cult status everywhere else, including the American underground. Then, when some good-hearted souls fly you from your construction site in Detroit to South Africa, instead of playing for a handful of “third-world disgruntles,” you find yourself in front of 5,000 screaming fans, freakin’ out (cuz they thought you were dead) AND they’re singing your songs back to you!

If you can imagine, that’s the story of Rodriguez.

Now, thanks to the good work of Matt Sullivan and Light In The Attic, American audiences are hip to the music of Rodriguez, who at age 69, is not saying “I Told Ya So,” but he’s feeling it.

A cross between Donovan, Jose Feliciano, and Dylan, Rodriguez is a product of the 60s. His timeless vocal style has a sense of immediacy and familiarity. His lyrics are noted for their audacity and modern-day relevance. Proud to be a family man, a working man, and an educated man, Rodriguez’s point of view and points of fact, haven’t changed much since he wrote songs like “This Is Not A Song, It’s An Outburst,” “Inner City Blues,” and “Sugarman.”

The dude is still a trip!

photo by Zohar Lindenbaum

Listen to the whole story tonight and hear the songs in this special Roadhouse feature. It should go live around 7:15pm. Then it’s available through the KEXP web-site for 2 weeks after (June 30th). Go to our Streaming Archive, then select the date & time.

Today, Wednesday, October 22, KEXP 90.3 presents a special program in The Roadhouse: “Psycho! 1960s Northwest Garage Rock” is specially devoted to the history-quaking, moneymaker-shaking distorted sounds that came out of Pacific NW garages, basements, greasy clubs, and teen dances of the 1960s.

The entire three hour program will delve deeply into regional one-hit wonder and subterranean rock history with long blasts of local music, cool and mind-expanding sound bites, rare vintage audio — and an exclusive interview with Tacoma’s punk pioneers, The Sonics! Listeners will also hear from Seattle’s musical archeologist Peter C. Blecha and the man who engineered “The Seattle Sound,” Kearney Barton (known for snarling on The Frantics’ “Werewolf,” among many other more technical studio recording credits).

Formed in Tacoma in 1963, The Sonics named themselves after the loud pops they heard near the McChord Air Force base where they grew up. Inspired by local pop luminaries the Wailers and recording for their fellow band’s independent Etiquette label, they can be considered the area’s first full on rock band. Torquing the traditional guitar, bass, drums, and sax line-up, they pushed the feedback to the top and kicked the rhythms harder than audiences here had heard before. The Sonics were led by Gerry Rosalie, who sang torso-punching anthems like “Strychnine” and “The Witch” with Screamin’ Jay Hawkins or Jerry Lee Lewis-style manic aggression. Drummer Bob Bennett scared parents with the underground rhythms the establishment feared, while Parypa siblings Andy and Larry made the loud roars and rumbles on respective guitar and bass that inspired local music from psychedelia to grunge and beyond — from Seattle to the Soviet Union. HERE ARE THE SONICS!!! was one of real rock’s first full Long-Players and is still considered a true classic, and along with a mere few other sides, is the driven document of music claimed as an inspiration for many generations of the Big Beat.

Other music included in The Roadhouse this Wednesday night:

• Don & The Goodtimes, featuring Viceroys’ guitarist Jim Valley, who wrote their regional smash “Little Sally Tease,” which was later covered more famously by immortal international garage band The Standells.

• Instrumental gods The Ventures, who dominate rock history with their #2 hit in 1960, “Walk Don’t Run,” as well as the theme from “Hawaii 5-0″ later in that decade. The Ventures were known for adding jazz-inspired intricate guitar riffs to gritty rock and roll, and the guttural crunch of their roiling sound contributed to the origins of what people would later think of as our area’s hard rock aesthetics.

• Boise’s Paul Revere & The Raiders, featuring Mark Lindsey on vocals though the band was named after its guitar player, that thrived in the original garage rock era of the early 60s, and was resurrected for tracks like “Indian Reservation” further on in the 60s.

• The Monks, who began as a group of hard-partying American G.I.’s stationed in Germany — including late and beloved guitarist/electrified banjo player Dave Day who was born in Renton, and passed away recently after months of hanging out at shows featuring such new regional bands as The Saturday Knights and The Cops. The Monks originally started as beat group The 5 Torquays and ended up eventually changing the world with their ranting anti-pop in shave heads and monks’ robes.

• The Kingsmen, known best for “Louie Louie,” which catapulted the Portland band to national prominence, solidified the Latin influence on mainstream rock and roll, and got played black radio stations across the country.

• Also featuring The Raymarks, The Artesians, and many more!

Listen closely for your chance to win a pair of tickets for The Sonics’ Halloween show at the Paramount on Oct 31. This will be the band’s first local appearance since 1972.

Join Greg Vandy for this seminal raunch-rock radio special, early Wednesday evening from 6-9 PM — or later on on KEXP’s Streaming Archive!

written by Frankie Brownstone
photos by Jeff Conlin

Last night on The Roadhouse, Greg Vandy welcomed a very special live guest, Charles Van Zandt, and the Seattle soul combo Satellite 4.

Charles Van Zandt is a gifted singer from Tyler, Texas. There must be something special in the water down there, because the piney woods country of East Texas has spawned many talented blues and soul performers over the years. Charles has been working the clubs, dancehalls and concert venues for sometime with his gut wrenching emotion and smooth delivery. His 45 of “Cummins Prison” on Echo records did well down south, and the flip side “Lovers Land” is still sought after by northern soul collectors in Europe and the UK.

Presently Charles is finishing a new collection of songs that capture the old spirit with new compositions and fresh vital energy. The 45 is being re-released to high demand and a collection of his recordings from the seventies has been remastered for released.

Recently Charles came together with Seattle soul instrumentalists Satellite 4 for a series of shows and sessions. Charles says he hit on a hot combination with these musicians. It is a timely collaboration that puts a strong, well-seasoned vocal atop a hard and heavy sounding rhythm section. Satellite 4 has the feel and tempo he likes, and the camaraderie between the guys is natural. Charles Van Zandt puts real experiences in his lyrics, and says most of the stuff in his songs happened to him directly.

One of the songs, “Hail Mary,” was written by Nashville songwriter Denise Draper, and gets an incredible response every time it’s played. Charles said he initially didn’t care for the song when he heard the demo, but eventually became attached to the thing, having a realization that the song fit him perfectly.

Spring and Summer 2009 BELONG to Charles Van Zandt, you’d best believe he is going to cover some ground. Plans are being firmed up for some festival dates and a string of club appearances. New writing and production progresses every day, with life experience and real drama working it’s way into each song. It will be worth watching how Charles Van Zandt and the Satellite 4 grow and branch out, stay tuned to www.myspace.com/thesatellite4.

If you missed either broadcast, you can listen in the archives at the links below. And it’s not too late to vote for your favorite players from last night!

Night 1: June 11, 2008

Our first victim was the brave Casey Coulombe, who came in armed with nothing but a humble jaw harp and a pretty good sense of hobo style. He twanged and sang along to “KC Moan” by the Memphis Jug Band like nobody’s business.

Next up was Boaz Frankel, who not only plays the kazoo with vigor and style, but runs Seattle’s only Kazoo Museum! He got many bonus points for his 3-piece suit and the museum, and his kazooing over “Casey Bill” by the Louisville Jug Band was pretty great too.

Our first female auditioner came in the form of Aveline, of local jug rockers The Beaver Deceivers. She kazooed and sang her way through “Newport Blues” by the Cincinnati Jug Band and “Vo Do De O Do” by … and the Leasebreakers, which she brought in herself.

Aveline was followed by David Clay on the harmonica, who had a dizzying array of weapons to choose from. He blew a mean harp over “Bucket’s Got a Hole in It” by Washboard Sam, but lost some points with Greg for his Mardi Gras beads.

To close out our first round, we had a last-minute addition in the form of Geoff Smith, who had tagged along with David in case there was room for one more. We had had a last-minute cancellation, so this worked out perfectly. Geoff blew his jug over “Minglewood Blues” by Cannon’s Jug Stompers.

Night 2: June 18, 2008

We dove right into it last night, starting up on a very high note with the intimidating jug stylings of Cameron Preston (aka Cambajamba), also of the Beaver Deceivers, playing over “Bucket’s Got a Hole in It.” Cameron not only had the chops, but he had a very pronounced sense of old-time style. Things were really getting interesting here…

Next up was the sasquatch Dan Mahon, who was the epitome of the Big Friendly Giant, who banjoed along to “Mobile Line” by Jim Kweskin’s Jug Band (incorporating some very nice train effects on the banjo). What he might have lacked in formal musical skills he more than made up for in charm and energy.

Finally, the washtub bass! Being the only washtub bass player in the bunch, I have to admit it would have been hard for John Brown not to make it into the band, but he rocked his fine, custom-made instrument on “Stealin’ Stealin’” by the Memphis Jug Band with some serious skills — and he sure looked the part, too.

We closed out our final round of auditions with back to back washboards (now that I think about it, we probably should have had them swap bars on a song in “dueling washboards” fashion — ah well!). First was Aimee Zoe Tubbs, who plays in various outfits around town, including the busking duo MoZo. Aimee wasn’t much for the old-time style, but her homemade, tricked out washboard was a sight to behold, and her skills on it as she played along to “Cocaine Habit Blues” by the Memphis Jug Band were undeniable.

The final contestant in this race to form Seattle’s Best Jug Band was Mr. Jeff Heller, yet another member of the Beaver Deceivers. Jeff stuck strictly to the unmodified, old-time washboard, and he had three of them for different effects: glass, zinc and copper. For “Jug Band Music,” by Jim Kweskin’s Jug Band, he stuck to the glass board, showing it who’s boss with his spoons.

So there you have it. Now who will make up the Dexter Street Stompers??? Write jugband@kexp.org to cast your vote, tune in to Greg’s show next Wednesday to find out, and be sure to check us out when we play live on the Roadhouse later this summer!

A revival in KEXP’s Roadhouse. Sign up for a chance to be a Jug Band star!

KEXP’s Greg Vandy is searching for folks to audition for a new Roadhouse Jug Band in the month of June! Selected applicants will audition live on The Roadhouse on KEXP (Wednesdays from 6PM to 9PM) on the instrument of their choice. Selected contestants will form a KEXP Jug Band who will perform live on The Roadhouse at a future date.

This is your chance to show your musicianship and old-time spirit by participating in this contest. Irreverence and style (original 1930s old-time or ’60s folk revival) will go a long way in the selection of band members. Homemade instruments not necessary. Rules & regulations apply.

^{photo by Steve Shaffer/KET}

To apply send an e-mail by May 31st to jugband@kexp.org with your name, phone number, preferred jug band instrument(s) (jug, string bass, mouth harp, washboard, tissue paper & comb, etc.), and why you think you would be a good addition to the Roadhouse Jug Band. Please attach or link to an audio sample of your handiwork.

May the best jug win!

Greg Vandy brings the old-time to The Roadhouse tonight at 6pm.

The Kings Of Mongrel Folk and Tom Sauber will play live at 7pm, and preview Roots & Branches, a film/performance presentation at NW Film Forum, tomorrow, Thursday, May 8th.

Northwest Film Forum presents a special presentation featuring motion picture and newsreel footage from the 1920s and 30s of country, blues and jazz performers. Clips range from the iconic Jimmie Rodgers and Dock Boggs, to anonymous jugs bands, fiddlers and field hands. The footage captures musicians at work in a vanished America — at barn dances, street corners, fiddler conventions and in the fields.

Musicians Tom Sauber, Mark Graham, and Orville Johnson will share their encyclopedic knowledge of Americana and old-time music as they narrate these rarely seen film clips. Following the film program, the trio will perform a set of their own music, inspired and informed by blues, bluegrass and American roots music.

Mark Graham and Orville Johnson, known as The Kings of Mongrel Folk, are among the two most talented and widely respected roots musicians in the United States.

Greg will break it all down in The Roadhouse.

Also, in the 8 o’clock hour, Greg has a VERY SPECIAL ANNOUNCEMENT concerning the Roadhouse and Jug Band music. Tune in!

photo by Mike Sax

I know, I know. You all think Mardi Gras is not cool and there’s no way you’re going out with beads and all that stupid shit you see on TV (or those really bad ads in the Weekly this week). I know. But let me be the one to tell ya that Mardi Gras is much, much more than girls going wild on Bourbon Street and lifting shirts for beads.

It’s more. It’s a deep, 150-year local tradition that even Katrina couldn’t stop. The parades continue to roll down St Charles Ave, second lines still follow brass bands, and families still celebrate with king cakes and house parties. It’s all part of a Carnival season, which begins on the 12th Night of Christmas (Jan 6th) and culminates on Fat Tuesday, the day before Lent (Ash Wednesday). It’s a culturally rich, historic tradition that also features my favorite part about Carnival; un-publicized street parading by Mardi Gras Indians who roam New Orleans’ neighborhoods in full, hand-stitched “suits” of feathers.

In the bayou, southwest of New Orleans, there’s a different, more country-styled Mardi Gras. Masquerading, music, and a community gumbo pot rule the day. And the chase of the chicken is a timeless tradition remembered by Doug Kershaw, our guest in The Roadhouse on 1/16 and interviewed by Jon Kertzer. It’s part of last week’s Mardi Gras show, still available on our Streaming Archive:

The Cajun-style Mardi Gras is captured beautifully by maverick film-maker Les Blank, who made many documentaries about Mardi Gras.

Go further with your Mardi Gras interest with this stuff:

• History

• King cake
• Parade Routes and schedules (web-cams)
• WWOZ radio
• … and check this video from 2007 Mardi Gras.

Enjoy the KEXP 2008 Mardi Gras Show! Three hours of Mardi Gras mambos, street parades, carnival songs, Mardi Gras Indians, king cake, brass bands, New Orleans music legends, and chasin’ chickens in the Bayou. It’s my all New Orleans music show accessible here on Fat Tuesday. It’s like a gilded coconut of web-cast radio pleasure!

Laissez les Bonnes Temps Roulet!

Stuff your bird tonight in The Roadhouse. Host Greg Vandy presents his annual “Thanksgiving Folk: Origins of the American Traditional Song,” where you’ll hear the evolution and variations of songs like “John Henry,” “Frankie & Johnny,” “Midnight Special,” and “In The Pines,” from their first recordings through the revival versions since. Plus, you’ll hear new versions of these songs from Live In-Studio performers like Sam Watts (Ghosts I’ve Met), Barton Carroll (Crooked Fingers), Levi Fuller, and Moe Provencher (Pelusa).

One of the songs Greg will feature on the show is “Stagger Lee” (also known as “Stagolee,” “Stackerlee,” “Stack O’Lee,” or “Stack-a-Lee”), which immortalizes the St. Louis carriage driver and pimp, Lee “Stag” Shelton, who on Christmas Eve in 1895 shot his friend Billy Lyons for taking the hat off his head. Over the next hundred years, the song was covered by hundreds of performers, from Mississippi River dock workers caught on tape by Alan Lomax to Lloyd Price, who made the Billboard charts with it in 1959, to Nick Cave, who amplified the violence on his 1996 album Murder Ballads. Here’s a sampling of the many variations, the likes of which you’ll here tonight on The Roadhouse:

Isley Brothers - “Stagger Lee”

Lloyd Price - Stagger Lee (live in 2006!)