Time only to tell you that Dave Goldberg and the McIntyre brothers’ band, Box Elders, are opening tonight along with Dim Light for touring post-punk band Times New Viking at The Waiting Room. $7, 9 p.m. Go!

–Got comments? Post ’em here.—

What’s not to love about Benson these days? Friday night I parked my car along Maple St., strolled down and chatted with the guys that run The Waiting Room who were outside getting some fresh air, then walked down to Mick’s (passing Espana along the way, which was jumping with some sort of event) to catch The Matt Whipkey Three before high-tailing it at 11:30 to The Barley St. Tavern for Dereck Higgins‘ set. The only thing missing from Benson/Maple St. is a place you can duck into (or that has a window that opens to the sidewalk) that sells pizza by the slice (like they have on 6th St. in Austin). That would be pure Nirvana and a no-brainer business for some ingenious entrepreneur.

Back to our story. I can say with all certainty that the line-up surrounding Matt Whipkey Friday night was clearly the best since The Movies. The trio format forces Whipkey to strip the arrangements to the bare essentials and refocus melodies in a way that edits out the excesses of Anonymous American while going beyond the simple acoustic strumming heard in his solo sets. It’s more subtle, more direct, more dynamic. As a result, the rocking parts rock more, the ballad-y moments are more ballad-y. With Benck adding backing vocal touches and Zip’s perfect, simple drumming, this could be the configuration that pushes Whipkey to the next level if he can pen some memorable songs and get all of them out on the road.

My take after stepping inside The Barley St. for the first time: O’Leaver’s has a rival for the crown of dumpiest, smelliest music venue in Omaha. That said, the bar does have a vibe (and odor) all its own. The music room is located in a separate chamber behind the bar. Like O’Leaver’s, there’s an overall rec-room appeal to Barley St., with assorted junk tacked to the walls and a capacity that I would guess-timate at around 40. Also like O’Leaver’s, there’s no question that the people who first built the tavern never intended to host live music there, but somehow it works, and works fairly well. It was SRO Friday night for Dereck Higgins and his band that included Gary Foster on drums and Bill Eustice on bass. Like Whipkey, the trio configuration really complimented Higgins’ performance and breathed new life into a set that featured a number of songs off his last two CDs. A tiny crowd of groovy hippies danced in front of the faux stage throughout the set, while Higgins introduced songs with lines like, “We’re going to space on this next one.” Charming and appropriate. Barley St. obviously doesn’t need much in the form of a PA to pump out rock music with the crowd mere feet from the performers (and with Foster’s crisp, cracking, precise drumming style). With the right booking, the club could become an important venue for acoustic and just-getting-started touring indie bands that are too small even for O’Leaver’s.

Onto Saturday… We walked up to Dundee Days late Saturday afternoon, past the fenced-in staging area where Oxygen was busy playing their version of alternative rock. We intended to at least pick up a hamburger or Italian sausage in the beer garden, but noticed that one of the burly security guys was taking money. I wasn’t going to spend $3 for the opportunity to spend another $5 for a cheeseburger (Subway, here we come). I’m curious at how an event sponsored by my neighborhood association and the surrounding local businesses can charge a cover when it’s being held on the streets that are maintained by my hard-earned tax dollars. Why wasn’t admission free?

It also costs $3 to get into Dario Days, but that event was held on private property and wasn’t funded by any association money. Dario was putting this on all by himself, and one assumes the $3 per head was being used to pay the bands.

When we got to Dario’s there was maybe 30 people sitting behind tables in the pseudo beer garden parking lot. A variety of Belgian beers was being served at $5 to $7 per draw. At first this sounded like an extreme rip-off, considering the cups were so small. I realized after drinking two of them, however, that this beer was a lot more potent than my Rolling Rock, and a lot tastier. Foreign Elfest — another in an endless series of drum-and-electric guitar duos — came on at around 7 and played a set of rather minimal indie rock. A few of the melodies were sort of pretty, though the mix was too muddy to understand anything being sung. Considering the simplicity of the songs’ chords, I wondered why the lead guy didn’t just play an acoustic instead of his electric guitar. I blame The White Stripes for this ongoing disdain for bass players. Bands like the Stripes, Black Keys and Two Gallants can pull it off because their guitar players are performing aural gymnastics. Most other duos, however, don’t have that luxury and the result is a sound that’s half-finished.

After Elfest, Jake Bellows performed a surprise solo set (Dave Goldberg joined in on drums for a few numbers). Jake’s forlorn, king-of-the-road laid-back style perfectly augmented the down-low feel of the whole event and made me wonder what’s going on with that Neva Dinova disc. We left and grabbed our sandwiches at Subway. When we got back, Jake was still playing. Quite a long set. It was starting to get dark when Outlaw Con Bandana came on — they were playing entirely in silhouette, back-lit by fluorescent lights blaring from the open garage door behind them. The only lighting in the crowd were the floods from the beer trailer and a single flood light mounted on the side of the Blue Line building. Outlaw — performing as a trio with no drummer — did their usual set of woody, Folkway’s style old-time music made all the more haunting by the lack of light. By the time we left at around 9:30, the entire beer garden area was filled — a sizable crowd, but nothing like the rowdy nightmare taking place outside Trovato’s that we avoided on our way home.

Tonight at Slowdown Jr., Omaha touring band Go! Motion (see live review) plays with Louisville rockers People Noise. $6, 9 p.m.

The interviews for the Matt Markel/Ranch Bowl story (which I placed online this morning, here) were conducted on two separate occasions — once in June 2006, and a second time last week. The No. 1 question that people ask when I tell them that I talked to Markel: How’s he doing? People know about his stroke, but few have actually spoken with him in a long time. My personal non-medical assessment is that Markel was much more alert and fluent last week than he was a year ago, when his speech was still choppy and hesitant. The improvement, Markel said, was the result of speech therapy, which he received at Lakeside, along with other therapy as part of his recovery. He said Lakeside is only a temporary home, and that he eventually will be returning to his house.

The story covers Markel’s history with The Ranch Bowl, from its purchase through its glory years, the radio station, the studio, and finally his stroke and the venue’s eventual sale to Mike Brannan and Dan Crowell. The plan was for Wayne Brekke to pick up the story from there, with interviews with Brannan and Crowell, but Wayne didn’t have any luck getting in touch with them. That being the case, you can get a glimpse at what happened next by reading this interview with Brannan from back in 2002, and this follow-up column I wrote few years later, when it was announced that the property had been sold for development by Wal-Mart. Did Brannan ever really intend to fix the place up and make it into a first-class venue? We may never know, though I’ve always had my doubts.

It’s fun to speculate what would have happened if someone else had bought The Ranch Bowl. Would it still be open today? Depending on the owners, probably. Had Brannan actually followed-through on his original intentions, I think it would have been a huge success. The location was absolutely prime. And now it’s going to be just another Wal-Mart, a store that I refuse to shop at. What a waste, what a shame.

FYI… the photo used at the top of my story was taken from behind the Ranch Bowl property looking east. You can sort of make out where the sand volleyball courts used to be (to the left).

* * *

An update on yesterday’s item regarding Dundee (Dario) Days, I’m now told that Capgun Coup will not be performing at the outdoor event. I’ll pass on more details as I get them.

–Got comments? Post ’em here.—

Just placed online, an interview with Magnolia Electric Co.’s Jason Molina (read it here). It’s brief. The reason: The publicist sent me a link to Molina’s Pitchfork interview, which couldn’t have been more comprehensive. I read it and thought, ‘What more is there to ask?’ So my few questions, delivered via e-mail, focus on Molina’s Nebraska connections, Mike Mogis and Roy Orbison. Check it out, and check out the show this Sunday at The Waiting Room with No Blood Orphan.

Here’s an early head’s up about an impressive outdoor show this Saturday as part of Dundee Days. The gig, which will be performed in the parking lot next to Blue Line Coffee, has a line-up that includes:

Box Elders
Bear Country
Foreign Elfest
Capgun Coup
Outlaw Con Bandana
The Lepers

I’m told Dario’s is one of the event’s sponsors, so expect a beer garden with a good selection of Belgian brews. When does it begin and what’s it cost? I don’t know. The band lineup has been posted on the Foreign Elfest myspace page. In fact, that’s the only place online that I’ve seen this show mentioned. If it takes place at the same time as Dundee Days’ always-lame rock show, there could be some sound-quality issues, as Dundee Days’ stage is super-loud (and located right across from Trovato’s). I’ll post more when I find out more.

Speaking of shows, tonight at The Waiting Room the always-entertaining Filter Kings are taking the stage, along with glam punkers The Designer Drugs, The Deformities and The Goddamn Rights. $7, 9 p.m.

–Got comments? Post ’em here.—

I’m not avoiding blog updates, I’m just buried under writing assignments, all of which will appear on this site throughout the rest of the week. The main event is a story focused on The Ranch Bowl — specifically the Matt Markel years — based on an interview with Markel that took place last Thursday, the same day Markel went out to the site and watched his old club get torn down. It’s part of a cover story in this week’s issue of The Reader, but I’ll have my portion online here Thursday. Also this week (tomorrow, to be exact), a brief interview with Magnolia Electric Co.’s Jason Molina. This week’s column is a rehash of last week’s The Song Remains the Same live review, with some additional comments about the virtues of cover bands. Look for it Friday.

A couple noteworthy shows are going on tonight. Down at Slowdown Jr., it’s Capgun Coup with Or, the Whale. By now, we all know about Capgun. Or, the Whale plays music in the same vein as Okkervil River, a band that seems to be riding a well-deserved wave of hype based on their new album. $6, 8 p.m. Meanwhile, over at The Waiting Room, Hydra Head recording artist Pelicans (from Chicago) plays with Clouds and Your Black Star. $10, 9 p.m.

–Got comments? Post ’em here.—

I thinking of going to this Yardbirds show down at Lewis & Clark landing (also featuring Matt Whipkey and Anonymous American and two other opening bands). Here’s what I could dig up on how the event works: Admission to the show is free, however, fans are encouraged to donate a few dollars to the Omaha Food Bank. Volunteers will be on-hand during each show to collect donations. Gates will open at 4 p.m. and music begins at 5:15 p.m. Vendors will be available to sell food and beverages (outside food, drink or pets are not allowed). You are allowed to bring lawn chairs or blankets. Visitors can park in a limited number of free spaces or take a retro Metro Area Transit bus from downtown city parking garages to the landing. You can also park and ride for free at the Gallup Campus located 1.25 miles north of the concert site. The “landing” is located directly next to Rick’s Cafe Boatyard and across from the Heartland of America park.

Also tonight, an evening of artsy indie noise rock with Fromanhole (myspace) at O’Leaver’s with Minneapolis band Self Evident (myspace) and Life After Laserdisque. $5, 9:30 p.m.

Thunder Power!!! plays at The Saddle Creek Bar with New Jersey indie band Fairmont (myspace) and Sight Unsound. $5, 9 p.m.

–Got comments? Post ’em here.—

Non-Led Zeppelin fans, please skip to the * * *

I’m not someone who is prone to hyperbole (that means “extravagant exaggeration” for all you word-power wonks out there). In fact, I’m often accused of going the other way — of being too negative, too nit-picky. That said, last night’s performance by The Song Remains the Same was a freak-of-nature quality thing of extreme beauty. I say this having literally been raised by Led Zeppelin — John Paul Jones used to help me pick out my clothes for school in the morning while John Bonham made me waffles and Robert Plant helped me brush my teeth. Jimmy Page was the lazy dad who always ran downstairs with a newspaper in one hand, a cup of coffee in the other while struggling to put on his suit jacket as he kissed my mother goodbye.

You get the picture. I know Led Zeppelin. It’s just about all I listened to in high school. That said, The Song Remains the Same is the next best thing to being there. Consisting of drummer Javier Ochoa, bassist Bunny Geist, guitarist Corey Weber and singer Jason Pollard, the band is a dead-on sonic replica of Led Zeppelin — in fact, a few people who’ve seen Zeppelin in person said they might be even better. Believe me, I’ve seen more than my share of lousy covers of “Rock ‘n’ Roll” over the years. These guys are eerily good, almost too good for their own careers, unless their goal in life is to be in the best Zeppelin tribute band in the world.

It’s all there. They know every lick of every song, but are smart enough to avoid trying to duplicate it. In other words, they capture the essence of Zeppelin instead of providing an exact replica. Still, any Zeppelin fan would marvel at what I heard at The Waiting Room last night. Ochoa’s muscular style and technical process is impeccable, as evidenced by their cover of “When the Levee Breaks” and Bonham solo tool “Moby Dick.” Geist’s bass playing made me rethink John Paul Jones’ role in the band — absolutely integral (The only thing missing was a keyboard).

Which brings me to Weber and Pollard. Weber is no Jimmy Page, but there can be only one Jimmy Page, and Weber knows it. He doesn’t do a note-for-note dupe of Jimmy’s solos, instead he makes his solos work enough to push the songs forward. More importantly, he nails the Page riffs that defined the band’s sound. Unbelievable guitar tone. Powerful. Accurate. Groovy.

Finally, Pollard. The story I was told last night is that he was discovered by Geist singing karaoke at Grandmother’s. Pollard is a freak. He even physically resembles Plant (with a little Kenny G thrown in). I promise if you see this band you will marvel at his vocal prowess. He has the full range of a Robert Plant at age 20. He knows every nuance, every vocal riff, every little touch that any Zeppelin fan would recognize. You expect him to disappoint you during the high notes on the classic songs off I and II, but he never does. It left me shaking my head with my mouth wide open. He even does some the telltale gestures that we all know from hours of live Zeppelin footage that we’ve all seen in the movie the band is named after. The pointing hand, the side slouch, the mic-chord wrist whip. He prances, he preens.

Look, I’m not overselling here. People around me, people I talked to afterward, were agog. Yes, they’re that good. In fact, I’m certain they could tour the country doing this if Pollard’s voice could handle singing like that every night (and I don’t know how it could).

You could criticize them for their stage presence — Weber was wearing an untucked western-cut shirt, Bunny wore a Thin Lizzy T-shirt. On the other hand, if they wore ruffled velvet suits or if Pollard was shirtless and wearing a vest, it might push the whole thing into campy/kitsch territory… that is, until they started playing. Once you heard them, you wouldn’t care what they were wearing.

Wisely, they selected mostly songs from the early albums (Pollard said II is his favorite). The high point was “The Ocean,” the low point was “Dazed and Confused” (but even that sounded respectable). Between sets (that’s right, they did two long sets), Weber asked for requests and I said anything off III, but specifically “Tangerine.” They didn’t have that one ready, but instead did “Out on the Tiles.” Awesome.

Yes, I know I’m going on and on about a tribute/cover band. I don’t care. I haven’t had that much fun at a show in long, long time.

* * *

Now back to our regularly scheduled programming, already in progress. But wait, before we do, I can’t forget The Third Men, who played a set of covers before TSRTS with new drummer Matt Bowen. Pretty awesome stuff. I’ve heard a number of these songs performed by them before, specifically Wings’ “Jet” and Richard and Linda Thompson’s “Wall of Death.” Both better than ever. The set also included some Bowie, Soft Boys, The Necessaries, Status Quo and The Knack, among others.

OK, on to tonight’s marquee shows: First, Eagle*Seagull and Kite Pilot at Slowdown Jr. E*S’s new stuff is top-drawer indie dance rock that’s irresistibly catchy. It’ll be interesting to see how well it goes over with the Slowdown crowd. This will be one of the last times you’ll get to see Kite Pilot with guitarist/vocalist Austin Britton before he heads back to the left coast. $5, 9 p.m.

or

The Terminals and The Shanks at The 49’r. You could argue that these bands play too often, except for the fact that you never know what’ll happen at one of their shows. Terminals are always easing in new material. This being at The Niner, I suspect that someone will probably get hurt during The Shanks’ set (and boy, will it hurt so good). Shanks will be hawking a new 5-song limited edition (only 50) CD EP, unpleasantly titled Urine Heaven. I assume (and you know what happens when you assume) that it’s out-takes from same sessions that produced their new “Big Feelin” 7-inch, which is a violent and abrasive joyride. Translated: A must have.

Over at O’Leaver’s, it’s Noah’s Ark Was a Spaceship w/ The King Hen. $5, 9:30 p.m.

Finally, over at The Saddle Creek Bar (they’ve been busy lately), it’s The Screens, Paper Owls, Seymore Saves Saves The World, and Shiver Shiver. $5, 9 p.m.

–Got comments? Post ’em here.—

Cloven Path return to O’Leaver’s (their roost, their stomping grounds) for a show tonight with Nymph and Demon Attack. It could (will) get messy. $5, 9:30 p.m. Meanwhile, over at The Waiting Room, it’s the unveiling of the The Third Men, V 2.0 with Matt Bowen (ex-Magic Kiss, ex-The Faint) on drums. We won’t get a chance to see how Matt does with Third Men music, however, since the band will be playing a set consisting entirely of covers (exactly which covers, I don’t know). It’s part of an evening of cover bands at TWR that features The Song Remains the Same — a Zeppelin tribute band — in the headlining position. To say I’m well-versed in all things Zeppelin is an understatement, so I’ll be approaching their set with a critical ear (if I go). There was originally supposed to be a Van Halen tribute band on the bill tonight as well, but I’m told they weren’t ready for prime time. $7, 9 p.m. Finally, over at the Saddle Creek Bar, Oklahoma City singer songwriter Ali Harter takes the stage with fellow Oklahomans The Non. Harter has a vocal and songwriting style that’s sometimes reminiscent of Feist (her myspace). The Non plays indie rock instrumentals (or so I assumed based on their myspace page). Both bands will also be playing at The Zoo Bar in Lincoln tomorrow night. $5, 9 p.m.

–Got comments? Post ’em here.—