All Work and All Play

It is not just out of laziness that I keep this post short, but the intrepid photographer, Andreea, kicks so much ass that I want her pics to run this entry. Enjoy!

montage 1

B&B Pre 1

Amanda was seriously fretting that her outfit was too revealing. Bless her heart!

The Road Southern caught another Barefoot & Bankside and Trisha Ivy set at Rockwood Music Hall, and it should be a surprise to no one that both sets were phenomenal. They let us hang around with them before the show. I got to hear Trisha Ivy, Mike Beck, and Amanda Neill practice a song in the green room. In that small room I found myself in a moment I had been hoping for since starting this blog. I got to witness a bit of the “work” that makes a show. Listening to their first play through, I thought it immensely pleasurable to watch them correct each other on notes that my lay ears thought were executed perfectly, then they corrected, and I thought, oh, Jesus, damn!

montage 2

To test out how good the sound quality is on my voice recorder I recorded Amanda Neill and Jamey Hamm rehearsing their cover of Shovel & Rope’s “The Devil is All Around.” The quality is on the low to mid side of decent. The recording doesn’t come close to the actual performance of the song, of course. I really love the feeling I got witnessing them ironing out any kinks before the show. Amanda and Jamey were about two feet apart facing each other. Both were keeping a close eye on the other. Myself and others were in the room, but Amanda and Jamey were in the song. Something about how quickly they correct themselves toward the end was where the bit o’ magic was for me. And, of course, I like the smart ass comments by band mates.

montage 4

What did give me a surprise was opener Dylan Sneed. I’d seen him play at Roots Café where it was just himself a couple times. He’s a great song writer, and exemplary on guitar. At Rockwood he had a full band backing him. They blew me and everyone else away. I knew he could sing and play, but it was something else to see him rock!

montage 3

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From Here, Where?

I’ve been trying to write something, anything but this for the past week. The Trisha interview threw me for a loop, and sent me reeling. She did so inadvertently, of course. She said “started back at zero.” She said she was cynical and biting to the point that she hurt people. She said that after her brother’s death, humor became the default operating system for all her social interactions, and that she stayed away from any other emotions.

It was the starting back at zero comment. I hadn’t heard that exact phrasing before, not outside of my own head. Then she listed a shared symptom, humor as both sword and shield to fend off and defend from real emotions, and people, and how people can grow into you, and how people can suddenly go. Then she said how she was sad for ten-plus years, and didn’t even really know it.

I came to Brooklyn at zero.

There was a girl, and she was the one I loved the most. Many years I loved her. Many years she loved me. Then a freak bout of lung cancer claimed her. I left my home in Georgia, because the heart I loved best had left me. My world was made beaconless. It is a profound feeling to become untethered. Value-wise there is suddenly no difference between the raindrops on your face and a parking lot; between the others dying in the hospital and these very live ones going about their day before you. No difference between your best friends and shuffling strangers. So, what do you do? Shuffle on now that you’re the stranger, for the way is forward, is it not?

Funny thing that. Forward is omni-directional. Any which way I face from here is forward.

I used humor in my early days to stave off bullying in my trailer park. Then to win friends. Then to make her laugh. I was an atheist heathen then, and she a faithful Christian. The God-loving, life-loving girl would laugh at my darkest jokes. I don’t know how we got along so well being so fundamentally different. She could get me out of my head. It’s been hell not having someone who can do that.

In NY the humor has been to beguile workmates and others into believing there is a friendship, but what have I ever revealed of myself? Not a thing. Trust me, make people laugh consistently and they won’t want you to do anything else. It’s nice. Yet, an interesting thing has occurred. I do not joke or act funny around these southern souls I’ve met and am coming to know. The notion of keeping up an act suddenly becomes exhausting to me around them. So, I smile and nod my head struggling to fathom what else is there to say other than a joke. “How’s it going?” That sounds like something regular people say, right?

I made jokes about meeting Amanda (of Barefoot & Bankside) in an earlier post. I joked about not knowing if I liked her or not due to her unending saccharine hyperbole. The truth is I glimpsed a spark inside Amanda that I came to recognize because of that girl. I know Amanda will read this. She’ll probably give me a big hug, which is a less irksome thing to me nowadays. In a dark little room in a basement, I think Amanda was the first person I told about her. Believe it or not, Amanda was actually quiet. In a good way.

That spark is in Jamey Hamm, and Trisha Ivy, too. It is in Amanda’s husband, Christian (he read my novel, he said he liked it). It is there in Andreea, the intrepid photographer. It’s just about damn near everywhere if you can find the right eyes to see it. Their music, their stories, their photographs have become my right eyes through which I can glimpse a world still full of kindness, and joviality. It’s still somehow a decent place to live despite her absence. The road southern is not the way back. It is not the road home. It only leads forward from here.

The Trisha Debacle

Trish Interview

Oh, were it that Trisha showed up to the interview drunk and make-up smeared, hitting me up for cash for her cab fare, and that was the debacle of which I lament. And lament I do, damn it! I have been woe begotten, I have been beset upon and off…putted (I think that’s a thing.) since Trisha Ivy sat across from me smiling, shining, a happy and eager girl. The interview went very well. In Freddy’s dark ill lit backroom where this took place she was as sunlight pouring through an open door. I, however, friends… I, sitting opposite her, was the very opposite of her. I had literally just come off a sick spell. I had no sleep the night before. It felt as though a cannon ball had lodged itself in my sinus cavity. And my voice was made just as low as I was feeling.

I let the happy and eager girl tell all she had to tell. My thinking was to post a short printed version of the interview, then embed the thing in its entirety so you all could hear the musician speak for herself. But the mic had a hard time with my unnaturally deepened voice, and when I eliminated interview ruining background noise it subtracted from my voice, as well, and to the degree that I sounded like a drunken murmuring hobo. So, I’ve had to transcribe the 45 minutes of our enlightening conversation for print. It’s taken over a week!

Overall, it’s a good interview. It was our first conversation. Over the year of being at her shows I had begun making guesses as to who she might be off stage. I was tickled to learn my guessing was wrong and the truth is far more interesting, as it tends to be.

So, you can either click here for the interview, or click up there next to “Roots” where I’ve given Trisha her own page.

Enjoy, with love,

Jody and The Road Southern

 

I Am Drinking Again

Blogging has required an adjustment on my writing process. Before this I was and am a wannabe Literature/Fiction writer. We don’t get an immediate, if ever, audience. We don’t get instant gratification like those pansy-ass musicians and artists. The process is a practice in patience and dedication. Solitude. I cannot be under the influence of anything when I write. Not for the purity of the blah-blah-blah, but because a couple drinks in and all I want to do is hangout, make fun of my friends to their faces and make them laugh about it, too. A couple drinks in, to hell with solitude.

Diesel

the Mack Truck logo let’s you know it’s bad ass

I grew up with every piece of trash in the trailer park declaring that, “Budweiser is a man’s beer!” “Miller High Life is a real goddamn beer, by god!” And Coors, and Natty Lite. Corporate piss water. A can of that weak-ass shit has 5% alcohol. A glass of froo-froo wine is about 13%. I say that like I’m going somewhere with this. For all my cries of falsity, and redneck ignorance, what was I drinking? Zima. Jesus. My prom date and I got drunk on Aftershock, which is some cinnamon liquor that crystalizes in the bottle as you drink due to its insane amount of sugar. My white trash angel harangued me into procuring it for this magical reason. On my 21st did I go out on the town proper, from bar to bar? Nope. Planet Hollywood, where I could drink overpriced drinks named after popular movies. A place for tourists and other rubes. On the reservation in North Carolina, me and my Injun cousins would get someone with a car to carry us deep into the mountains where every underaged one of us drank Sysco wine, which I believe was even lower rung than Boone’s Farm or we’d get some Diesel 190 proof grain alcohol from the ABC store just off the rez. This was tougher stuff, sure, but even trashier than the trash I was trying to cultivate out of me. I didn’t know how to not be trailer park.

I was a pizza delivery boy for a bit. I worked for some real New York Italians who had transplanted to my hometown for some odd reason. I would deliver a pie to some rednecks here and there who would proposition me with an even better tip if I’d ferry them to the gas station for a case of Bud. I’d say, yes, every time; take ‘em to the store, take ‘em back home, take their money and sit and drink a can with them. There was a derelict hotel I’d deliver to. It was usually dudes at the middle or end of some awfulness in their lives. They never had tip money. They offered booze or drugs. I’d drink with them. I was never trying to be an alcoholic, and these excursions were not too regular a thing. We were all just so very bored. They, confined to their homes because they fucked around and lost their licenses, or holing themselves up in shitty hotel rooms because in a town where everybody knows everybody no one will take them in, and myself confined to my car having heard all I could stand of NPR’s sensible and enriching programming. I laughed with them. Every one of them told me that theirs was not a life a young man like me should want to have. It seems like anger and resentment are the only reasons I left my home in Georgia, but it was also out of respect.

Freddy's

Freddy’s

My barroom education came about when I moved to Atlanta, then New Orleans, then Athens. I learned that Bud and Miller were actually lagers. Shitty lagers. Sweetwater Brewery was just hitting the scene. I learned I really like IPAs. A chain restaurant that primarily exists in GA called Taco Mac featured 300 beers, and a little “Around the World” program that encouraged drinking the gamut of brews. I worked there, drank all the beer. My tastes improved. I never touched that swill stuff. Artisan crafted potables all the way. $8 a pint, and honestly believing whatever I was seeing at the bottom of the glass was better than those rednecks of my homeland. I moved to Sioux Falls, South Dakota to write my novel. I quit drinking for the most part, and quit smoking entirely. I learned to keep my head down in solitude.

High LifeI finished my manuscript and now I’m in Brooklyn. At first, money kept me from drinking at all. When things got a tiny bit better, I’d enjoy a drink now and then, making sure it was the most micro-brewed-crafted-as-all-hell as could be. I had finally cultivated an aversion to that piss water of old, wouldn’t even touch the hipster approved PBR. Then this blog. After dealing with long-form for so long I found it hard to be in the moment. I would habitually try to make long arcing storylines to be addressed in later posts. I was mentally cataloging everything I was seeing and hearing, and thus in danger of becoming an internet journalist. Can you imagine? I want to be excited, and surprised in this journey through BK Country. I want to be mouthy, and raucous in my telling of it. So, it behooves me to drown out that cultivated snob that I in too many unearned ways have become. Now all my 1st draft posts are done at Freddy’s Bar, a couple blocks up from Roots Café where I do the final drafts. At night, it’s High Lifes until I get that snob quieted down enough that I can have some fun, so I can laugh about these high times, piss and moan about the sorrows. Then, in the light of day with coffee and cheese grits, try to makes sense of the night before. I do it for you, dear reader.

Happy to be here.

Happy to be here.

 

Lightning Unbottled

Roots Family

The Road Southern's Intrepid Photographer

The Road Southern’s Intrepid Photographer

In an attempt to prime you for tonight’s Roots Family Reunion show, permit me to tell you about the last time I saw Barefoot & Bankside. It stormed and it thundered. These Brooklyn streets were rivers. I was pinned under a storefront awning waiting on an unceasing downpour, and so was everybody else. I braved the waters and met up with Andreea, official Road Southern photographer. She had forgotten her camera. We ate ramen noodles. That part’s a little lackluster, I know. Also, the rain let up and it was an easy walk to Union Hall, but the storm that had just passed was as nothing compared to the storm to come.

Sorry, just trying to set a tone.

We got to Union Hall a little late. We missed the first couple of bands. We did get there in time for Chris Q Murphy. He’s a song writer from Brooklyn. He’s definitely a student of Americana. At times he sounded country, at other times like those old bar bands in New Orleans I used to go see, a straight up rock and roll vibe as it was when electric guitar was just moving away from its R&B genesis. A supreme lyricist, his storytelling is complex and deep, yet easily accessible and understood.

B&B had been on hiatus performance-wise. Jamey Hamm had a newborn to see to. However, he and Amanda Neill had acquired an official backing band and sequestered themselves to a rehearsal space over the past few months. It paid off in spades.

Jamey normally did triple duty at a B&B show: lead singer, guitarist, and percussions. A veritable one-man band, this guy. He was impressive and great at simultaneous performance duties, and I am a huge fan of talented one-man bands such as Quintron, Owen Pallet, and Possessed By Paul James. Now he’s delegated those duties to exceedingly capable musicians. All of this has led to the blowing away of myself and the audience by Jamey’s full attention on vocals, and hollerin’, and stompin’. No one in the band was worried about timing, or remembering notes to songs they just learned. It was all muscle memory, which allowed them to open up, pour out their hearts and souls, and leave it all on the stage. Hearing Jamey’s vocals push up to and past what I’ve grown used to from Amanda was amazing, AND it caused Amanda to go even harder, which I thought could not be possible. B&B is a band busted out of its cocoon. It is no longer in its infancy and has become a thunderous force of nature.

Trisha Ivy followed. I was a bit anxious to see how this would go. B&B’s set was high energy and had everyone up and moving and cheering. At the first couple of songs the crowd had dissipated. This is not due to her actual performance. Those first songs were slower ones, the amped crowd was using the down pace as a moment to break. Trisha, a consummate performer, remedied this. She picked up the pace, she let loose her own voice. That there exists a monster in Trisha’s voice has always been hinted at in her shows despite how in control of it she can be. I was happy it was out that night, as I was happy Jamey’s own monster voice was out, and Amanda’s.

Roots Family 1In my notes that night I wrote down the best thing I’d written in a while, maybe ever. And near perfect, I think I’ve only touched it once or twice, so that its original form is 98% intact. Full of gratitude, wonder, and bourbon I wrote, “Tonight I am misty eyed at the quality of music put forth to me, and that by it I am filled with the ever elusive holiest of grails that is the present moment. I came to join and am enjoined by these talent filled, hope filled friends and strangers who connect me to my old world, and to this both fierce and gracious new one.” BK Country, y’all.

The Way Is Forward

B&B

Amanda & Jamey American Gothic Style

Jamey Hamm had a little baby girl. Amanda Neill bought Roots Café from him so that he could be a stay at home dad. This was back in February. There was little BK Country for me at that time, yet I still hatched the idea to begin a blog revolving around the southern/country scene of Brooklyn and NYC at large. I swear it’s that photo of Trisha Ivy that got me saying “BK Country.” Maybe something Jamey said or wrote…? “BK Country.” That sounds like a thing, doesn’t it? Feels like a thing, anyway. Thing enough for me to start this. Somewhere in that BK Country lull, I heard a song. It gave me the title of this blog, and once the blog had a name, lull or not, it was time to begin.

Right?

Right?

The first show I went to with notebook in hand was Trisha’s performance at Hometown BBQ. This was also my first trek into Red Hook. Geographically speaking, it’s close by, but no trains go there. Busses barely go there. However, my bicycle got me there in a flash. It’s odd when a city has remote areas within itself. This makes bicycle travel feel freeing. There were people I wanted to invite to the show, but they would not be able to make the journey without more planning. Not me. One pant leg hiked up to keep it out of the gears and with the wind in my hair, I got there faster than cars, even. Once inside Hometown, I said, hi, to Amanda and her husband, and took a spot at the bar. The interior of Hometown BBQ is that of a road house. Big open floors with old-wood tables. A couple of giant ‘Merican flags. They smoke their own meats in house. A ball field is next door, and a softball team was in line with me. There were families. There were fat old men and women. There was beer and whiskey. It felt like I was back home. Later, I would be surprised the owner, Billy Durney, is Brooklyn born and raised. A big fella, his attire struck me as “Walter” from The Big Lebowski. He traveled around the south, all of it. He said he liked what he saw, and liked what he ate.

Trisha IvyTrisha played. She had a guitarist, Mike Beck, that picked and strummed as country as any, but I found out he, too, is a Yankee, and a jazz trained one at that. Amanda got up on stage with her. They make a unique pair, Trisha and Amanda. Amanda who retains a Sunday modesty in her dress; very humble, but not at all shy. Trisha, with a measure of flare, asserts herself before her audience. Amanda, a raw and reactive nerve in regards to that voice of hers. Trisha exudes more control as she reigns in and unleashes accordingly. Jamey has this quality, as well. This is not to say Amanda is wild or impulsive. She simply gets lost in a song, and Trisha and Jamey are wise to let her.

There was a ton of food afterwards, and plenty more drinks. I got to meet everybody. Amanda’s husband, Christian, advised me to seek out The Lone Bellow who live in Brooklyn. Riding home on my bike drunk was its own liberation. Until I got to 4th Ave, it seemed like I was the only soul in Brooklyn. The air was chill, and at night even the Gowanus canal can appear charming. I thought about the idea of making The Lone Bellow a mission. I thought about Trisha helping to clean the restaurant after we ate, and Amanda’s new ownership of Roots Café. I thought of all the hours I’ve put into day jobs here. Work, toil, is not meaningless in this city. At least, not for those of us who came here with the wholly daunting and nigh-unreachable goal of becoming who we know we can be. A father. A successful business owner. A BK Country star. A real writer.

The song that brought me this blog’s name is not a country song, and not from the south. In fact, if someone had described it to me, I probably wouldn’t listen. It’s not necessarily my thing. But its post-industrial rhythms, its art-pop ambition, and its encouraging lyrics that never dip into platitudes give me a sense of trudging forward, maintaining vision, and keeping balance. It’s become my anthem.

Trisha Ivy And My Forgotten Country

I think this is why I started saying "BK Country"

I think this is why I started saying “BK Country”

I’ve been introduced to Trisha Ivy on a few occasions. The first time I met her she was sitting on a stoop with Amanda outside of Bar 4 after a Barefoot & Bankside show. She didn’t perform. She was just there for support. She’s another hailing from Tennessee. Trisha is very pretty. I state that as a fact. Long, curly blonde hair. Big dark eyes, and a shining smile. Something deep down in those dark eyes, though, tells me she won’t put up with a schlub or an ass for too long. There’s nothing mean in them. At every encounter she’s flashed the warm smile and said, hi. I don’t know, maybe I was just suddenly feeling like a schlub and an ass before her. She’s very pretty. That’s a fact.

The next few times I would see her she did perform. Her shows are solid. Trisha is a charismatic singer. When she bellows a sad, somber note I feel for her. When she gets a little ruckus going, I really wish someone would teach me a country dance because toe tapping and head nodding don’t really speak my heart. Christ, is this silly wording latent, resilient country boy, or a newly acquired affectation? Whichever, Trisha’s music, like B&B, inspires me to join in. I hope I can convey the achievement that this is as this blog continues. I meant to leave my home in Georgia. I never meant to (re)ingratiate myself with the southern/country scene, ANY southern/country scene.

B&B is a band in its infancy, still trying to find and secure their groove. Trisha Ivy, on the other hand, seems to have her act together, literally. Her sets are paced well. She knows after a couple of sad songs when the patrons are staring a little too sullenly into their beers to kick it up and give them something to move to. She even has patter and jokes between songs. That sort of thing pleases me, when the stage time and the show has a “just another gig” quality, but only when it’s backed by sincere enjoyment and dedication as her gigs are. She has a day job, night job, rather, as a bartender at Hometown BBQ in Redhook (more on that joint later). This aspect draws me to her, as well. It’s obvious she came to Brooklyn to bust ass. She’s very pretty, but she doesn’t rely on that, and she doesn’t need to. I can relate to her. Not in the good looks department. Jesus, maybe not in the talent department either. I came here with a complete manuscript of my novel thinking “realistically” I’ll be a big billy badass paid writer within about two years. I’m in my sixth year. I work in a restaurant. You feel me?

I bought her ep, “Cotton Country.” At the time I found it I could have gotten it for free, but I went to amazon.com, anyway. It was five bucks, which is nothing, especially for her songs, and I wanted to help out, because with this blog and these new found good times here in the city, I feel I am being helped. I agree there’s a more traditional pop appeal to her than, say, with B&B. She doesn’t have the hard-rocker edge I normally lean toward in my listening life, nor is she trying to be a hard rocker. Her songs are melodic, pretty. Listening to the ep with my headphones on the R train I was able to hear the lyrics much clearer than I could while half-lit checkin’ her set out at Hometown or Union Hall. She’s a talented writer. Co-existing with the prettiness of her music are lyrics that bespeak a soul who’s been around, and is being honest about it. She has wit, grit, and an excellent grasp on succinct storytelling in a song.

Trisha 3 by Beth

Thanks to Bethany Michaela for this pic.

I know I don’t speak too well of my hometown, because of its history and my own history and experiences there. However, I do have friends and family there, and beside them are good memories. Listening to that Tennessee girl up there on the stage, well, it helps to shed some of the southern grudge. Some cracks in my shell have recently been discovered, and Trisha’s music pries at them making me remember southern sweetness. I used to climb Sawnnee Mountain with friends. We smoked cigarettes and looked down upon our little town. We all had a dream of leaving it. We knew more had to be out there in the world. I had picnics in fields under a shady tree with my beautiful sweethearts who would provide all the food and blankets because I was a mostly worthless boy. I could make them laugh, though. Here I am now in the big city far, far away from home and a long time gone. And here, now, are these wonderful new southern friends set in my path with their familiar accents, and their kind hearts. Maybe that’s what it is. Maybe I was a mostly worthless boy for too long, blind from dreaming too much. Maybe I squandered too many kind hearts in my life. You feel me?