Two Gallants tonight at Sokol Underground with Anonymous American and The Holy Ghost Revival. Just $7. Is it me or are prices going down for shows lately (Cursive shows for $2)? It’s probably just me. Also tonight, Life After Laserdisque, Petracovich and Stephanie Rearick at O’Leaver’s ($5, 9:30).

Tomorrow night, Oakland’s The Heavenly States with Lincoln’s Eagle*Seagull at O’Leaver’s. I’ve heard a few E*S tracks online and am intrigued. $5, 9:30.

Sunday night, Austin Americana band The Black roll into O’Leaver’s with Danica Newell. $5, 9:30.

It looks like the beginning of a long month at O’Leaver’s. I clarified with owner Sean Conway the whole 30-shows-in-30-days thing. They’re not doing a show every night in October, though it sounds like he tried to book it that way. He said he couldn’t find enough bands to play every night. I find that hard to believe, especially in this town. Still, he’s doing a lot of shows (check out their updated calendar) with the help of 1 Percent Productions, which, just glancing at their calendar, looks like they’re doing a stretch in mid-October of 13 straight shows. They’re putting it in road gear. Hang on.

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Nice turnout at O’Leaver’s for movie night last night. Landon Hedges from Little Brazil told me at the bar that his band is headed out with Statistics for a brief tour in late October. In fact, members of Little Brazil will be Statistics — that is, they’ll be Denver Dalley’s backing band for the tour. Though it’s not listed on their site, Hedges said they hope to kick off the tour with a gig at O’Leaver’s (probably around Oct. 25).

I source close to the action tells me that Simon Joyner and his band, the Wind-up Birds, will begin laying down tracks for a new album in the next week or so at an undisclosed location (not at a studio). Expect it to be a full-band recorded live. I’m also hearing that Joyner has been added to the Nov. 15 Rachels/Mariannes show at Sokol Underground — no confirmation yet.

That Millions of Dead Cops show I wrote about weeks and weeks ago is tonight at Knickerbocker’s in Lincoln. $10. Wear your Docs.

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Column 44 — All in the Family
Two Gallants adopted by Saddle Creek family

I think I sort of freaked out the guys from Two Gallants.

I interviewed them a couple weeks ago when they were in San Francisco having just returned from a brief tour of England. They were getting ready to head out to Saddle Creek Records’ CMJ showcase followed by Omaha.

So I’m on the phone with both of them — singer/guitarist Adam Stephens and drummer Tyson Vogel — and off I go about how Two Gallants is really the first band to get signed to Saddle Creek with absolutely no links to the label. They didn’t grow up in Omaha, they didn’t go to Creighton Prep, they didn’t hang out at The Brothers, they never recorded at Presto! Studios or toured with any of the label’s bands.

They just played their strange-yet-endearing personal brand of pirate-voiced blues-waltzes at a couple O’Leaver’s gigs before opening for Beep Beep at Sokol last January. The hoopla generated from those shows caught the attention of Creek label chief Robb Nansel, who ran down a copy of the band’s CD, The Throes, and the rest, as they say, is history. That chronology of events, I told the Gallants, was unheard of. It just doesn’t happen. Don’t you get it? Creek doesn’t sign bands out of the blue like that.

I didn’t stop there. I told them about the vote. “You guys had to be ‘approved’ by the powers at the label — the Conor Obersts, the Tim Kashers — all had to give you the nod,” I said, my voice rising to a painful howl. “And only then — only after the vote — did you get invited to join the family.”

Stephens and Vogel sounded startled (or maybe just annoyed). “So, do you think that we’re worthy?” Stephens asked. “I guess it’s kind of an honor.”

Stephens said that he and Vogel already knew about the label before hanging out with Nansel in Austin a few weeks after their Sokol gig. “It was pretty comfortable,” he said. “Robb wasn’t trying to impress us by buying us a lot of drinks like most of the industry folks do. He just seemed like someone who enjoyed music. There wasn’t any pretending going on.”

Shortly thereafter, the deal was done. I don’t know all the details. Nansel said that there was, in fact, a vote held. Would Creek be signing more “strangers” (my term, not his) to the label? “Yeah, but we don’t have an active A&R department, so I don’t know how active we’ll be,” Nansel said.

Two Gallants’ music is a departure from Creek’s usual singer/songwriter or angular punk or electro-dance style. Or maybe not. Come to think of it, Creek bands don’t really have a specific “style.” If anything, it’s the songwriters’ personal, diary-esque lyrics and their non-commercial approach that ties everyone together.

“The one way we do fit in is that most of the bands are different,” Stephens said about Saddle Creek. “We don’t sound like anyone else, and I think that’s what’s interesting about the label. They’re not getting stuck inside a specific genre. I think that a lot of bands on Saddle Creek are going in a different direction than what’s typically considered indie.”

There isn’t anything typical about Two Gallants. Don’t mistake them for other guitar-and-drum duos like The White Stripes or The Black Keys. Their sound is rooted in a different kind of musical tradition. When I saw them last winter, their set consisted of long, three-quarter-time ballads that married Arlo Guthrie with Janis Joplin (sort of) to create a nasal-esque folk-blues ‘explosion.’ I mentioned that I could hear Janis singing every one of their songs, how she was influenced by people like Bessie Smith and Otis Redding and Big Mama Thornton. Did those artists influence them?

Silence.

“No, not really,” Stephens said. “I can get down with some Bessie Smith, but I haven’t heard much Janis Joplin. Both of us are deeply influenced by music from the ’20s and ’30s by people who actually experienced the blues. In terms of the evolution of the blues, I think of B.B. King as someone who has no connection with where it came from. His stuff wails and people dig it, and maybe it has heart and soul, but we’re more into the people who lived the lives the songs described.”

Somewhere, members of the Omaha Blues Society are collectively gnashing their teeth.

Check out the newest member of the Saddle Creek family Sept. 30 at Sokol Underground with non-Creekers Anonymous American and The Holy Ghost Revival.

That BBC Radio 1 program — titled One World — that’s focused entirely on the Omaha music scene (for which I was interviewed a week or so ago) was broadcast yesterday and is now available for your listening pleasure via the Internet at this site. Click on the “Listen again to this week’s show” link, or click here. The producer took the clever approach of discussing something about Omaha for every letter of the alphabet (“B is for Bright Eyes” “K is for Kite Pilot” “V is for Venues” etc.) The difference between this 2-hour show and the majority of national (and international) coverage of the Omaha scene is that producer Jimmy Devlin actually went out of his way to gather material about bands and elements outside of the Saddle Creek sphere of influence. The program’s track listing includes Simon Joyner, Kite Pilot, Little Brazil, Ladyfinger, Mousetrap and Statistics, as well as the usual Creek suspects. You will finally be able to hear what your favorite Omaha music journalist sounds like as my comments are used throughout. The quote that I’m most please with: My gritty, real-life description of O’Leaver’s that I’m sure will elevate the venue’s profile to that of CBGB’s or the 40 Watt Club. Sean, prepare for the multitudes. Check it out — it’s an accurate, interesting depiction of our scene that includes some nice touches about our history.

Tonight’s big show is heavy indeed: Back When, Race for Titles, Precious Metal and Father at Sokol Underground. It’s being billed as “the return of Race for Titles after months of hiatus.” It’s also another opportunity to hear Precious Metal, the side project of Faint guitarist Dapose. Bring your earplugs, it’s gonna be loud. $8, 9 p.m.

Also, an early head’s up for the monthly Rock Movie Night at O’Leaver’s, which is tomorrow night (Wednesday). This time it’s “The Boys are Back in Town” — an October 1978 performance by Thin Lizzy at the Sydney Opera House in Australia. Read more about it here. It’s fun and it’s free.

Tomorrow morning, look for my feature on Two Gallants that talks about how the band found itself signed to Saddle Creek.

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A couple quickies to pass on over lunchtime:

I caught Landing on the Moon Friday night and never had a chance to type up my thoughts over the weekend. To put it simply, I dug them. LOTM is a five-piece anchored by drummer Oliver Morgan (Little Brazil, The Quiet Type) with two guitars, bass and his wife Megan on keyboards (who also was in The Quiet Type). Stylistically, there’s nothing like these guys ’round town. First, no one is kicking out original ballads, not like this. LOTM closed their set with one after having played a cover of The Zombies’ “Tell Her No” that was as good as it gets. Their sound is all over the board. The opener had a Bowie vibe going on, while the second or third song reminded me of an old Reset tune, which makes sense since two of the band’s members were in Reset. There’s even a TV on the Radio thing that happened a couple of times. The two guitars play opposing picked counters anchored by a solid bass and Morgan’s usual perfection on the sticks — though he’s more reserved and precise here than in his other bands. He seemed a bit surprised when I told him after the set that LOTM reminded me nothing of The Quiet Type. It’s more reserved in a good way, more musically formal. “More grown up?” Oliver added. Yeah, that. In a world where indie seems to be the rule of the day, there’s nothing indie about Landing on the Moon, and that’s the whole point.

Also playing that night at O’Leaver’s was Kite Pilot and Mariannes, which explained why it was so damned crowded. I left right after LOTM though, not because I don’t dig those bands, but because I had to be at work early the next morning, thanks to Hurricane Rita.

Overheard that night: O’Leaver’s is apparently doing 30 shows in 30 days in October, throwing caution to the wind, taking the plunge, putting the hammer down, doing whatever it takes, blah blah blah. Now if they’d only start updating their online calendar…

Tonight, it’s Matador band Pretty Girls Make Graves at Sokol Underground with Ladyfinger and Latitude, Longitude, all for a mere $8. Expect a crowd.

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Of course the most notable event this weekend is Lincoln Calling. Two marquee shows tonight: Neva Dinova, Tilly and the Wall, Dave Dondero and Orenda Fink at Knickerbockers; Ladyfinger, Bombardment Society and Ideal Cleaners at Duggan’s (The Stay Away is staying away, apparently). As far as I can tell, there are no individual ticket prices listed on the Lincoln Calling site, I guess as an incentive to buy the $20 all-access weekend pass, available at Homer’s in the Old Market.

If you’re staying in Omaha tonight, check out Landing on the Moon (Oliver Morgan of Little Brazil and his wife, Megan, among others), Kite Pilot and Mariannes at O’Leaver’s. $5, 9:30 p.m.

Tomorrow’s marquee Lincoln Calling event: The Prids, For Against and Eagle Seagull at Duffy’s. If I go to one show surrounding this event, it’ll be this one, though I fear it’ll be so packed in Duffy’s that I won’t be able to get in. No idea what the ticket price is, and there’s nothing listed on the Duffy’s site, though I’m told no show will exceed $10.

Sunday’s Lincoln Calling main attraction: Little Brazil, Her Flyaway Manner and Life After Laserdisque at Duffy’s with an unannounced opening set by Landing on the Moon. Nice. A few blocks away Anonymous American is playing at Duggan’s. Again, the full Lincoln Calling schedule is here. They’ve also added some film events and a rock poster show (discussed here).

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Column 43 — The First National Bank of Rock ‘n’ Roll
Comp CD (tries) to reflect local scene.

Looks like the bank is getting into the rock ‘n’ roll business.

When I say “the bank” I’m obviously talking about First National Bank, because let’s be honest, FNB dominates the financial landscape ’round these parts, thanks in part to aggressively sponsoring community-based cultural events. So leave it to the great grey institution to have the wild idea of putting together a compilation CD that attempts to capture our nationally recognized Omaha music scene.

FNB Second Vice President Clint Sporhase, 33, said the bank’s involvement in One.one, the compilation in question, isn’t really any different than their support of other cultural events like the symphony or opera. Says Sporhase, “What a great way to do something that supports a segment of the arts in Omaha that also reaches out to that younger, twentysomething demographic.”

Ah, those twentysomethings — a demographic that historically has viewed white-collared stuffed-shirted institutions like the bank as “The Man.” You want them to let down their guard? Better start speaking the language. Hence, the CD. Sporhase, however, is the first to admit that pop music is a language that he and most of The Suits in the white tower downtown don’t understand.

That’s where Homer’s comes in. Sporhase says the record store was the first place that came to mind when guys in the board room were kicking around the idea. A phone call was made to Homer’s president Mike Fratt, who called his Saddle Creek store manager Marq Manner. Not surprisingly, both were happy to lend a hand.

To their credit, the duo didn’t do a “call for entries” and openly solicit bands to contribute. Instead, they relied on their own knowledge and taste to come up with the track listing. “We didn’t want any one type of music,” Fratt said. “My objective was to make a compilation that represents the best of what’s going on in Omaha.”

The 13-track end product certainly tries, but hardly represents the entire scene. How could it? Look, if you’ve ever put together a comp CD you know that no one is going to like everything on it. The same holds true with One.one.

FNB and Homer’s get high marks for including some innovative acts, such as Little Brazil, Kyle Harvey, Le Beat and Ladyfinger. Fratt says more commercial bands like Eyes Catch Fire, Emphatic, Venaculas and Straight Outta Junior High got the nod in part because they’re heard on 89.7 The River.

Like any good comp, there’s a “discovery track” — a pleasant surprise from a band you never heard before. From my standpoint, the honor goes to Civicminded, whose “Stoplight Traffic” is the bouncy alt-rock track that you’ve been waiting for. The CD is rounded out with songs by Anonymous American, Grasshopper Takeover, Sarah Benck and the Robbers, and Fratt’s own Goodbye Sunday.

What’s missing?

For starters, there’s no hip-hop on One.one. Sporhase and Fratt both said that the two tracks they considered for the disc illegally used samples, which would have been too difficult to acquire rights to.

Next, it’s hard to say any comp represents the Omaha scene that doesn’t include at least one song by a Saddle Creek Records artist. Yeah, I know they’ve already received more than their share of visibility, but to most people locally and nationally, the Creek is the Omaha scene. Fratt said he didn’t think there was any possibility that Saddle Creek would participate.” He’s probably right. We’ll never know.

Finally, where are the Speed! Nebraska bands and the white-knuckle rockers like The Terminals, Bad Luck Charm, Race for Titles and The Philharmonic? “Some of the bands mentioned won’t sell their product at Homer’s,” Fratt said. “We have to carry it if I’m going to hear it.”

And some stuff didn’t make the cut because it just plain sucks. Fratt knows there’s going to be plenty of pissing and moaning from those left off the record. Where’s the death metal? Where’s the hardcore? Where’s the Ukrainian string bands? At the end of the day, he’s satisfied with the CD. So is Sporhase, who said “If the project is well-received — if we feel good about what happens — we would love this to be an annual project or a rite of passage for local artists.”

About 7,000 copies of One.one will be distributed for free in the next few weeks at UNO, Creighton and other local colleges. Students should keep an eye out for related on-campus events. Copies also are available at Homer’s with the purchase of any participating band’s CD.

First, this week’s feature, a look at the second annual Lincoln Calling music festival and chat with event organizer Jeremy Buckley (read it here). Yes, I think this year’s line-up easily eclipses last year’s, thanks to the Creek/Team Love showcase at Knickerbockers (brought to you with the help of One Percent Productions) which is being held concurrently Friday night along with the Ideal Cleaners/Ladyfinger/Bombardment Society/Stay Awake show at Duggan’s. But the real highlight (for me, anyway) is The Prids/For Against/Eagle Seagull show the following night at Duffy’s. Buckley tells me that this could be the last time you Prids fans will get to see your band until maybe 2007 as they head out on 18 months or so of touring. Legendary ambient rockers For Against, which rarely if ever plays live, will be celebrating the rerelease of their December CD, which is a must-have. Why doesn’t Omaha do something like Lincoln Calling? Because, as Buckley pointed out, we don’t have six decent live music venues in walking distance of each other like they do in Lincoln. As for the great divide that separates the two cities scenewise, Buckley points out (rightly so) that it doesn’t have to exist. I, for one, would love to see more Lincoln bands take the stage at O’Leaver’s and Sokol and The 49’r and The Goofy Foot and Mick’s. Maybe events like this will help make it happen.

Onto the live review: Packed it was last night at Sokol Underground. It was sold out, and we’ll leave it at that. Packed from stage to the merch table, wall to wall, a mass of humanity come to see Sufjan Stevens and his 8-person band of cheerleader musicians dressed in their Big “I” T-shirts, some holding pompoms, all playing a myriad of instruments, most singing. The pompoms weren’t mere props. Stevens and crew began four or five songs with well-choreographed cheers, complete with arm signals and spirit fingers. It was that kind of set, a goodhearted rah-rah for ol’ Illinois, all in celebration of his second “state LP,” this one dedicated to The Prairie State.

Seriously, at times it was like listening to a choir led by a little guy in a Cubs hat with a voice that was a morph of Art Garfunkel and Ben Gibbard singing lullabies to Jacksonville, Decatur and Chicago. I didn’t know what to expect from the arrangements, I knew Stevens would be hard-pressed to recreate the lushness heard on the CD. But by God, he captured the majesty thanks to the glockenspiels and brass (especially his trumpet player) and keyboards and battery of percussion and those four female cheerleaders whose angel-voices made the whole thing float. Listening to Come on Feel The Illinoise as I write this after the show, I think everything was a tad funkier live, especially “Decatur,” which sported a nice bass riff and finger snaps and probably some sort of synchronized cheer-dance. After playing high school pep-rally standard “Varsity,” the band came back and did a one-song encore that nicely rounded off the hour-long set.

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The usual Tuesday message: Too busy yesterday morning writing a feature on Lincoln Calling (it’ll be online tomorrow) and this week’s column (about the First National Bank comp CD, it’ll be online Thursday) to write an update. Such are the pressures of deadlines.

Saturday night. Packed crowd at O’Leaver’s (what else is new?). Ointments on stage — that swinging Kyle Harvey, that commie Reagan Roeder, that madman Landon Hedges. Hedges looked like an emaciated Animal from the Muppet Show on drums, but man, could he play, swinging the lumber like a real pro, like a tribal warrior. It was Hedges’ stickwork that fueled this revitalized version of The Ointments, along with the songs, of course. I just saw these guys a couple months ago at Shag and was only mildly amused. There’s something about Shag and its big stage so far away from the audience that just seems to suck the life out of bands. The Ointments that played Saturday sounded like a different outfit altogether. Much more animated, much more soulful, much more into the crowd. And the crowd was into it right back. Roeder has a way of adding something filthy from his guitar at the end of every song. Feedback, squeal, static, like Crazy Horse but different. Their songs are, of course, pure indie pop that, as I mentioned before, reminds me of Big Star or Teenage Fanclub, especially on songs whose endings stretch out ad infinitum.

Then there was the Pomonas. No more slop for these guys. Nope, they’re true professionals, now playing every note tight as a tick. Consider them a Midwestern version of GBV or Pavement but with poppier hooks and three-man harmony and playful hi-jinx usually involving a tambourine. A few people even came up from Lawrence to see the set (Don’t know why, since they’re from Lawrence). I grieve at the idea that it could be months until they come back to Omaha, though our friends at Someday Never swear that they’ll do what they can to book them here soon. I was there when Joe from SDN told frontman Justin Ripley he was going to make it his personal mission to get these boys back on an Omaha stage toot-sweet. And now, through the power of the Internet, the whole world knows. Get on it, Joe.

Finally, there was the White Stripes version of Fizzle Like a Flood, featuring singer/songwriter Doug Kabourek on drums and guitarist Travis Sing on, uh, guitar. The gig was celebrating the rerelease of Golden Sand and the Grandstand, a lush, multi-layered opus that combines 40 tracks on each song. Needless to say, the version heard Saturday night in no way resembled that recording. Kabourek stripped it all down to raunchy guitar chords and big-fisted drumming while he struggled to sing along Don Henley style. The new arrangement completely changed the complexion of the music, not necessarily in a better way, but in a different way. Kabourek is said to be putting together a bigger supporting line-up for when he opens for Okkervil River later this year. He even talked about making a rock record. This could get interesting…

Speaking of interesting: Last week I was interviewed for about a half-hour by BBC for a 2-hour program dedicated to “the Omaha scene,” but with an emphasis on Saddle Creek Records (of course). The chat took place in a studio off 110th and Mockingbird, where we were patched in to Ireland via an ISDN connection. Very high tech. It was kind of fun answering questions for a program that I probably will never hear (The interviewer said it’ll air at 3 a.m. sometime in the future, no specific date was given). They wanted to know about old days circa mid to late-’90s. They asked about Mousetrap. They asked about Simon Joyner. They asked about how Creek influenced the whole scene. They asked about other Omaha bands not on Creek and said they were going to play some songs from them (Kite Pilot was one mentioned, as was Ladyfinger and a few others). They asked about the hot venues (I described O’Leaver’s to the Nth degree, mentioned Sokol, etc.). They asked if there was any resentment about Creek’s success — how could there not be? And on and on. This was apparently the same producer that posted on the Saddle Creek webboard a few weeks ago, asking for people to call and give their impressions of their favorite Creek bands. He told me no one called, probably because no one wanted to eat the international long-distance charges. Or maybe because they may never hear the finished program. I’ll let you know if they let me know when it’ll air.

Tonight at Sokol Underground: Sufjan Stevens with Liz Janes. This will be the first time Stevens has ventured into this part of the Midwest. I’m told by our friends in The Pomonas that despite selling out three nights in NYC, Stevens was unable to sell out The Bottleneck for a recent gig. Something tells me this one will either sell out or be damn close. Get there early if you want to get in. 9 p.m., $14.

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This is a briefer-than-normal review, mainly because I’m running late (not because of the quality of bands). There were a good 50 or 60 on hand at O’Leaver’s last night (which equates to SRO), surprising considering that The Vibrators/Bad Luck Charm was going on over at The 49’r. Fine, Fine Automobiles a.k.a. Landon Hedges was backed by a band (at one time referred to from stage as The Decepticons). Kyle Harvey was among them, and they changed the complexion of Hedges’ usually sweet, withdrawn, personal acoustic songs to laid-back rock ditties that perfectly complimented the other bands on the bill. With the band, the songs were fleshed out, and FFA could be the The Good Life to Little Brazil’s Cursive, which would be somewhat ironic for those of you that know Landon’s history. Afterward, Hedges said he only recently threw the players together; that they only had practiced a couple times. And that he plans on swapping them out for another band in sort of a rotating fashion. Kite Pilot, for example, might back him next time; Someday Stories the time after that, etc., constantly providing a new interpretation of songs from band to band — I guess sort of like Bright Eyes, which would be somewhat ironic for those of you that know the history…

Arthur Dodge and the Horsefeathers were up next. Dodge is a grizzled veteran and sounds like one, with a voice like a Midwestern Randy Newman singing bluesy, Dylan-y rock songs that demand your attention — attention I couldn’t give them from my perch at the bar, boxed in behind a wall of people ordering drinks. I should have stood up, but there was nowhere to stand up. I should have bought a CD cuz I can tell I’d like the lyric sheet. Someone should bring back these troubled souls (preferably someone like Mick’s).

Lastly was David Pound and his band, which consisted mostly of Horsefeathers. The two acts are touring together, so it makes sense to share the horses, especially when these horses have such strong backs. I have a confession to make: I had no idea going in what Pound’s current music would sound like. I haven’t seen or heard from him since his grunge-rock Vitreous Humor days. Mr. Pound is all grown up and playing grown-up music a la ’70s-era southern Cal-style groovy rock that’s all about telling stories in a laid-back (though still rocking) vibe. I loved it. Pound is a helluva songwriter, and this band of horses could power any late-model muscle car (I’m thinking maybe a ’69 Pontiac GTO a.k.a The Judge). Especially Jeremy Sidener, who never failed to provide jaw-dropping bass lines on ever song he played for either frontman.

Hmmm… that review ended up being longer than I expected.

Anyway. This weekend:

Tonight: You lucky Lincolnites have The Third Men with Strawberry Burns and The Static Octopus at Knickerbockers. You Omahans, it’s worth the $12 in gas to drive there (it’ll cost another $5 to get in the door). If you’re too lazy to visit the capital city, then why not motor over to Counciltucky, where The Lepers, The Stay Awake and Virgasound (formerly The Philharmonic) are playing at Mike’s Place (162 W. Broadway)? I’ve never been there. They tell me it’s nice.

Saturday afternoon is Mavfest, which I discussed in yesterday’s blog/column. Drop by and drop some cash for a good cause.

Tomorrow night: The Pomonas w/The Ointments and Fizzle Like a Flood, who is celebrating the rerelease of his Golden Sands and the Grandstand album on Earnest Jenning Records. Methinks The Ointments will open, followed by The Pomonas, then Doug and Co. will be last (it’s their party, after all).

Close out the weekend Sunday night with Fromanhole and Kieskagato at O’Leaver’s. Ah, but if you’re in Lincoln, check out Tangelo and The Holy Ghost at Duffy’s. Lately I’ve been getting into The Ghost’s Welcome to Ignore Us… it’s damn good.

That’s all for now.

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