By Hans Morgenstern
By Joseph Hess
By Peter Gilstrap
By Julia Burch
By Jeremy Essig
By Nathan Smith
By Julie Seabaugh
By Julie Seabaugh
Saturday, May 15; Side Door
Given the nagging presence on the alt-country scene of jokesters like Southern Culture on the Skids, Angry Johnny and various trailer-trash revues, the Ex-Husbands' simplicity feels radically fresh. Their brand of country is straight and unpretentious: smooth sing-along melodies, glint-and-run Telecaster leads, a sturdy rhythm section and (most important) a strong, deep, long-voweled singer in Anders Thomsen. They're not doing anything new, but they're doing it damn well. Besides, fine music isn't always about smashing artistic boundaries. It's about laying down deeply felt songs in a deeply felt way.
The Ex-Husbands sharpened their chops in Brooklyn and Manhattan bars before heading to Nashville, where they've frequented the still-thriving Lower Broadway scene. In February I caught them at BR5-49's old stomping ground, Robert's Western Wear, and was struck by their easygoing energy and how, when they rocked, they still swung. Sure, like those of many young neo-honky-tonkers, Thomsen's tunes sometimes have a whiff of formula -- cars, bars and whiskey abound -- but the band is so good and so good-natured that they charmed away my songwriterly obsessions. Hell, they made me forget the smell of sizzling flesh on Robert's grill. And drummer Michael Howard Smith and bassist Mark Miller are tight enough that Thomsen can jump from playing rhythm to spraying smart twangy leads and then back to that effortless, steady, two-step country rhythm. Dancers, don't leave your partners at home. (RK)
Sunday, May 16; Generations
The tenor saxophone has always been a major element in the distinctive, funky sound of classic R&B, but the instrument has never really made much of an impact on the hardcore blues scene. The stripped-down sound of guitar, bass and drums has always seemed to work best in the blues with the harmonica.
But there are a few outstanding sax players on the blues scene, and one of the best is Eddie Shaw. Best known for his tenure with the legendary Howlin' Wolf in the 1970s, Shaw filled the roles of Wolf's bandleader, arranger and road manager. (Check out the classic recording The Howlin' Wolf London Sessions, featuring such guest musicians as Eric Clapton, Steve Winwood, Bill Wyman and Charlie Watts for an example of Shaw's talents as an arranger and sax player.)
Although Shaw is best known for his connection to Chicago blues -- he also worked with Muddy Waters, Magic Sam and Otis Rush in the 1960s -- he has some deep connections to St. Louis musicians as well. Growing up in the Greenville, Miss., area, Shaw formed a band with Oliver Sain during his teenage years, and occasionally the two young sax players sat in with Ike Turner's band or accompanied Little Milton. These days Shaw is leading a group called the Wolf Gang, which features his son, Eddie Vaan Shaw Jr. on guitar, Tim Taylor (son of blues guitarist Eddie Taylor) on drums and pianist Detroit Junior (who also played in Wolf's band). The group's latest recording, Can't Stop Now (Delmark), shows Shaw and band in an up-tempo, cross-generational blues attack. (TP)
Eminem with Pace Won and the Beatnuts
Tuesday, May 18; Mississippi Nights
Don't let the annoying hit song, the bleached hair and the masses of captivated nihilistic preteens fool you. Eminem isn't just a Top 40 fad. He may put his pop face on to milk the marketplace for all it's worth, but when nobody's looking he's dropping the illest cameo verse on an independent 12-inch or delivering a mind-blasting freestyle on a radio show. Compared to the work he's put in on underground tracks, "My Name Is" sounds like a dumbed-down translation of his talent. On "Scary Movies," the B-side to the "Bad Meets Evil" platter, Slim Shady declares that he is "the one man on the planet that'll drive off of the Grand Canyon/hop out of a Grand Am and land in a handstand and/any man plannin' to battle will get snatched out of his clothes so fast that he'll look like an invisible man standin'."