The Replacements ‘Portland’ Vs. Lifestyle Music

On tour in Sisters, Oregon.  Monday night I’ll be in Portland.  This is a song about the city which I have liked since I was a kid.  It’s Portland by the Replacements.  It’s melancholy, but with just the right amount of defiance to give it an emotional complexity.  (That complexity is what many of those that have been influenced by the Mats have failed to achieve.  There is always a wit that comes through in Westerberg’s songs.  Even if he sounded down he saw the humor.  Even if he was having fun he sounded slightly guilty about it.)  Word has it that this song was an apology to the city for something they did when they were there.  Westerberg even says, “sorry”, at the end during the fadeout.  But who knows such things.  They are certainly a band with many myths at this point.

When I travel I like to spend part of the time listening to music that has some connection to the scenery and landscape.  It usually brings out new things in both the scenery and music, both gaining added dimensions in the imagination.  (At least until I’m so fucking exhausted that only the sounds of the insane seem to make any sense.  Hence me putting on Samhain all day!)

Though this is quite different when I live somewhere.  Often I’ll get regional music overkill.  I quite often need to take a break from Texas music when I’m at home in Austin.  The same can be said of anywhere I have lived.  (Although an exception might be music from the past, which is its own unique destination.  There is another exception, which I’ll get to.)  Music is also a way to be transported far away from your current physical existence.  It’s a way to get a feel for places you have never been, to experience emotions more deeply than you might be at the time, or to relate to people with different experiences.   I want to go to new lands or have a new insight into a land I’ve already been.  I don’t get people that want to hear their own mundane everyday lives sung back at them, unless a writer has the power to infuse the everyday with a sense of mystery, therefore making it new.  (Current songwriters like James McMurtry and Ramsay Midwood can do this in Texas.)  I have no use for lifestyle music, music that is trying to appeal directly to the biases and prejudices of a certain culture.  I like a little bit of mystery in my art, a little poetry.  Just writing a list of things that exist in a certain place is, to use a term that Werner Herzog uses for cinema verite, “the truth of accountants.”  I don’t need to hear a song about so and so that I did last weekend.  I was already there and it wasn’t that fucking great…

Cleaning Out the Music Library Vol. 1

Probably the only people that own more music than me are other musicians or those who are obsessive compulsive collectors of music.  I may even lean towards the latter.  Music is both my passion, my career, and my hobby.  Despite all of the music that I might slag off if we were to have a conversation, there is an incredible amount that I love.  Even though a lot of the music I own is no longer in any physical form, I thought I would call it Cleaning Out the Music Library, where I would write about five great albums and keep them to a paragraph a piece.  Most of my newer posts deal with whatever I am listening to or inspired by at the time.  I thought this would be a good way to make people aware of some other great records that are out there.  I am picking randomly out of my iTunes library, on whatever the spirit moves me to write about.  If I have touched upon any of these releases before, it is only by shear lack of memory, as I have posted close to 2,000 posts here by now.

1.  Adam Ant is the BlueBlack Hussar Marrying the Gunner’s Daughter – Adam Ant – After Adam Ant spent years out of the music business due to personal problems, he returned with a double album.  The album was unlike most comeback records as it is a truly strange piece of work.  It is a low fi record that owes more to the early post punk spirit than a thousand indie bands combined.  This record wasn’t aimed at getting back to the top of the charts, but about creating something personal, unique, and actually artistic.  There are some great melodies and vocals on this record.  However, the vocals and the songs can sound slightly off the cuff, as if these could be perfect pop songs, but he decided to record them in a moment of inspiration and leave them be.  Many of the recordings are more like demos than finished studio tracks.  All of this works in the albums favor as it sounds outside of time.

2.  Build a Nation – Bad Brains – Produced by now deceased Beastie Boy MCA, this record was a return to form for the band.  MCA recorded the Bad Brains to analog tape and got some of the fiercest recordings out of them in some time.  Some critics complained about the amount of effects added to singer H.R.’s slightly diminished voice, but I think it only makes the proceedings weirder and more interesting.  The punk tracks, or whatever you call it when the Bad Brains go all out, as they are far more musically adept than most punk bands, are better than the reggae tracks, which miss the rawness of their early reggae work.  However, even those tracks are respectable and they serve to add some variety to the proceedings.  The record sounds great in the way that only tape can.  If you are a fan of their early work, or you like the creativity and insanity of early 80’s punk, this record is worth checking out.  True freaks of their time.

3.  Doug Sahm and His Band – Doug Sahm – Even though he was born in San Antonio, no other musician quite captures what I think of as Austin music quite like Doug Sahm.  Country, blues, rock, and other genres come together to create a unique Tex-Mex blend.  It truly is something that hippies and cowboys, or just fans of great music, could get into.  The music feels extremely loose on the surface, but there are a lot of hooks here.  It’s the work of someone that both knew what he was doing, and was free enough to live in the moment.  I could have picked other records from his long career, but this is a great place to start if you haven’t heard of him, or you have and have never actually checked his work out before.

4.  Raise the Pressure – Electronic – This is what happens when Johnny Marr and Bernard Sumner make an album together, though to be fair the music is slightly more weighted towards the kind of pop that Bernard Sumner is famous for in New Order.  (Though there are some great mid period Johnny Marr guitar hooks.) Some of the keyboards sound like they are from the 80’s, even though this album was released in 1996, but I’m not picking this record because it is hip.  It’s just full of great pop songs, great hooks, and some great British musical moments.  If you like pop music with effervescent melodies and great playing, this album has loads of both.  This record is really cool because it doesn’t even try to be, it’s just emotional and enjoyable.

5.  Popular Delusions and the Madness of Cows – Ramsay Midwood – My favorite Ramsay Midwood record is Larry Buys a Lighter.  I know many people that love his first album.  But Ramsay Midwood has never made a bad record and they are all full of his unique personality, lyrics, and way with a groove.  This album features a couple of my favorite Midwood songs in Jesus Is #1 and Planet Nixon.  Midwood writes lyrics that are often full of dark dry humor.  “Jesus is #1, I’m #2, and the rest of y’all is #3.”  His music can only be described as honky tonk music from another dimension.  People that think Sturgill Simpson is unique haven’t got a clue.  On nights that I’m not playing in Austin, if I am going out to see music, I would just as soon see Midwood play as much as anyone else.  But Midwood isn’t strange for the sake of it.  He gets how deeply weird this country is and holds a mirror back up to it.  If you pay close attention he’ll have you laughing at the strange truth of it all.


Tonight my band No Show Ponies will be playing at Hole in the Wall in Austin at 9pm.  I try not to over promote my own shit on here, as I want this site to have value in and of itself.  However, tonight is a special show as my brother moved away a year ago and this is one of the very few times we may get to play music together for the immediate future.  Above is a Joe Strummer song that we often cover.  “Going to the Mountaintop”!

If you want to hear us here is a link to our record that we recorded two years ago in Austin with Ramsay Midwood at the helm.  Recording mostly live to some quarter inch analog tape.  You can stream the album in full.

Live in Austin With Ramsay Midwood, Jan. 28th

I wanted to mention to any of you in the Austin area that I’ll be performing solo, with drummer/percussionist Alex Moralez backing me up, at the Google Fiber building tomorrow at 4:00pm.  (201 Colorado)  We will be performing before the great Ramsay Midwood.  There will be free food and drink at this event as well.  I have worked with Ramsay in the past and he is one of my absolute favorite acts to catch live.  Hope to see some of you there as this is a show that I’m extremely happy to be a part of.

Here is one of my favorite Midwood tracks and videos:

Ramsay Midwood's Maybelline Grease

Although I wasn’t actually recording today, I had the pleasure of going into the studio to watch one of my favorite Austin artists, Ramsay Midwood.  He was recording his song for the Ted Hawkins tribute record that everybody is working on right now.  He calls his music psychedelic country-blues.  I like to call it honkey tonk music from another dimension.  He definitely is dancing to the beat of a different drummer.  He is an acquired taste, but once you acquire it, you won’t be able to get enough.  He is one of those rare artists that has found his own voice, outlook, and even groove.  The song above, Maybelline Grease, is from my favorite album of his, Larry Buys a Lighter.  Most alt-country is just sentimental singer-songwriter stuff with a bit of twang in it.  This is roots music that is bending space, time, and light.  In some parallel universe, Patrol Boats are blasting this shit in the Mekong Delta while young soldiers twist their minds with LSD.

Christmas Time Warp

If you haven’t checked it out yet please click on the link above and listen to No Show Ponies new album, A Manual for Defeat.  I’m extremely proud of this record.  It is three-piece independent rock n roll.  We recorded to analog tape with the great Ramsay Midwood at in the production chair.  Spread the joy.  Make businessmen cry. 

I should resume a fuller posting schedule tomorrow once my brain recovers from the Christmas party I attended last night.  I ate and drank enough last night so that the finer points of the English language are evading me today.  Or as my great friend Roman says, “I don’t black out, I time warp.”  

The Making of A Manual for Defeat: Part 3

No Show Ponies new album, A Manual for Defeat, will be released tomorrow exclusively through  More formats to follow. 


Once we got to Ramsay Midwood’s house, for the first group of sessions, it really was as simple as setting three of us up in the same room and letting us play.  Ben’s guitar amp was put in a different room.  Ramsay and Seth Gibbs, our engineer, were in another room with the tape machine.  We played live, with Ben even stepping on his guitar pedals like an early Van Halen record.  We redid the vocals later with Ben and me singing into the same microphone to give it an immediacy.  The second group of sessions, done a few months later at Seth’s studio, was done the same way. 

We used early Halen, Joy Division, and early Jam records as guideposts for overdubs.  All of these records are rock records of various sorts that only feature three instruments with minimal overdubs.  Overdubs, as being additional guitar parts, percussion, or other instruments, were only added as absolutely necessary.  You lose a small degree of energy between performing live and when it is played back through the studio speakers.  This is always the case for recording.  If we felt something could use a little spicing up we added something to it.  Otherwise we left everything as close to the original spirit of the performance as possible.  There are several songs that, except for the redoing the vocals, were left exactly as they were played that day, imperfections and all.  One of the things that is exciting to me about this record is that often you can hear the interaction of three musicians and nothing more.  It is often primitive because of this, but it will never date. 

Ramsay’s main guiding principle was that nothing should be longer than it merited.  Songs were cut down so as there is no fat on anything.  There are only three songs that breach the four minute mark and none that breach five.  Ramsay kept the session productive and humorous.  At different times he walked the studio with a golf club for reasons we still have yet to decipher. 

When we got to the mixing stage our main rule was to do no harm when it came to energy.  Even if something sounded technically better, we nixed it if it took away from the excitement of three people playing together.  This also later led us to master the album as little as possible.  Once we recorded everything to tape we did overdubs and mixed with a computer.  Anytime we added effects or overdubs that didn’t sound natural and real, I loath digital reverb, they too were quickly scrapped. 

We were in no way trying to make a “retro” record.  Once we decided to go the tape route because of budget, every decision was made to make the record as live and authentic as possible.  I have always believed in the maxim that the middle of the road is the worst place you can be.  I always think the best recordings are either the ones that are primitive or the ones that have no budget constraints.  Those would be records where the artist is allowed to paint on as big a canvas as possible.  If you can’t go that route that stay true to who you are in the moment.  If you can’t be ahead of trends then ignore them. 

Basic tracks to this record were recorded in four days over two sessions.  Overdubs took about two days and mixing not much longer than that.  It captures perfectly who we were at that exact place and time.  We were broke, yet never beaten.  We played as if our lives were on the line, because in some sense they were.  We were looking out at the senselessness of the modern world, coming back unbowed from the verge of defeat.  

The Making of A Manual for Defeat: Part 1

No Show Ponies new album, A Manual for Defeat, will be released tomorrow exclusively through  This is an album that was forged out of necessity.  That is both the necessity of expression and the necessity of circumstances that lead to the way this album was made.  This is a rock album about hard times, which was made by and for people that are going through them. 

My brother Ben and I moved to Austin about 8 years ago from Central Pennsylvania.  Although we had always played rock music, we started out in the Austin scene as an acoustic duo.  We slowly climbed up the Austin ladder, found band mates, and recorded the album The End of Feel Good Music.  We recorded that album with Kevin Russell and Keith Langford of Shinyribs and the Gourds.  We had cameos by such Austin luminaries as Jon Dee Graham and Jimmy Smith of the Gourds.  We had a successful CD release party and then a residency at the Saxon Pub.  Everything seemed to be going right, but then as often happens, trouble found us.  Our live band imploded. 

Suddenly we found ourselves without a steady band.  Although Ben and I never quit working, we found that we were lacking a distinct sound and direction.  Out of the blue, or possibly through an internet ad, the drummer Alex Morales walked into our lives.  He is a drummer with an encyclopedic knowledge of drumming.  His apartment looks like a drum museum.  He not only could play whatever crazy idea we had in our heads, but also could inspire us and push us in new directions.  He is the perfect drummer for the songs Ben and I write.  He has rock solid timing, a deep pocket, and more importantly he intuitively understands the kind of music we play, shares many key influences, and writes unique and distinctive parts for each song.  A band is only as good as their drummer and suddenly we had a great one. 

However, we were still lacking a distinctive sound.  I was on bass at the time and Ben was on acoustic.  At one practice, when Ben and I found ourselves alone with Alex, Ben decided to pick up the electric guitar.  All of a sudden, in about three songs, that sound that we were always looking for, but weren’t sure where to find it, came to life right in front of us.  My brother could jump with ease from beautiful chimy arpeggiations to blood thirsty noise solos.  We decided right then and there that we would remain a three piece.  We were limited in what we could do, but as often the case in art, limitation is the mother of invention.  While we always believed we could write and sing together, we suddenly, for the first time in a long time, had a “sound”. 

The next step that we knew we had to make was recording an album.  We asked each other how we could make a record that would do justice to the sound that we were hearing for the budget we had.  And the truth of the matter is that we had no budget.  The Great Recession had come through like a hurricane and wiped out whatever financial stability that we had.  Luckily I had the experience of recording with Ramsay Midwood on his quarter inch tape machine.  Shinyribs had recorded a song called Dollar Bill Blues for an English Townes Van Zandt tribute record.  In one day of working we had the song recorded, mixed, and ready for action.  There wasn’t the fussing about that plagues most recording sessions.  Most importantly the recording we did had a vibrancy and life that is missing in most modern recordings. 

I knew that if we had any chance of making a good record for a nonexistent budget, then this is the route that we had to go.  If we were well rehearsed we could knock out basic tracks within a couple days and end up with something we believed in.  For the next several months Ben, Al, and myself rehearsed like mad.  We got every song that we had into a definitive three piece arrangement.  Anything that didn’t work with only three instruments was thrown out the window. 

When it came time to record we picked the best songs we had given the arrangements that we had.  We also had our eye on the whole and picked songs whose meanings would be enhanced by the songs around them.  We wanted to make an album and not just a collection of songs.  Once we had the material where we wanted it, we contacted Ramsay, who picked engineer Seth Gibbs, and headed out for his house, where the first batch of songs were to be recorded…

To Be Continued…

Ramsay Midwood’s Tribute to Veterans Day and His Ancestors

The below words were written by Ramsay Midwood, recording artist and producer of my band, No Show Ponies, upcoming album.  They were posted on the night of Veterans Day.  Without any further delay:  

My great great grandfather Shawi Koni “Raccoon Skunk”…afraid of losing his 6000 slaves made a difficult decision to fight for the Confederacy during the civil war, one of hand full of Native Americans to do so. He was captured on 9/11/1863 at the battle of Chustenahlah.
Prior to his capture and execution he had fathered 47 children with a variety of women of all shapes sizes and colors. While there are presently thousands of his descendants roaming the world right now, the most prominent being Lynndie England, noted for her involvement in the Abu Ghraib scandal and Michael Larson, one of the uncredited creators of the game show Press Your Luck, the one who has made the greatest contribution to this nation is Braylon Kingsly …who created the Eleganza Catalog.

any way thank you for your service Shawi Koni and thank you for your Catalog Braylon Kingsly

You can check out more on Ramsay Midwood at