Black Keys drummer Patrick Carney and guitarist-vocalist Dan Auerbach are currently continuing the experimentation heard on 2008’s Attack and Release through their respective side projects. Before regrouping for this fall’s Blakroc project with Mos Def and RZA, Auerbach is touring in support of his solo album, Keep It Hid, and Carney is playing bass in his new side band, Drummer.

Do the extracurricular projects signal a new direction or broadening of sound? Or could it prompt them to draw back to the purer elements of the Black Keys?

“Dan and I started the Black Keys when we were very young and our first record came out when we were both 22,” says Carney. “In the past seven years we have grown a lot as musicians and have started to feel comfortable changing and doing what we want. Neither of us would ever want to feel like we need to sound a certain way to be pure.”

“I think what is truly pure is being honest and that is what we have been doing since we started playing music together.”

Drummer, a musical cabal formed by drummers from various bands, released the album Feel Good Together on September 29th. “I played the bass and helped write and arrange the songs, but keep in mind the other four guys are some of the best musicians I have ever met,“ Carney says.

Drummer’s debut merges harmonies with something akin to the layered playing of Built to Spill, but Carney is elusive when talking about the origin of the sound.

“The blues are to the Black Keys as hot dogs are to Drummer.”

A direct album title like Feel Good Together combined with the giant sundae cover art projects a positive message that dovetails with the often buoyant tone of the album.  How much thought went into post recording marketing?

“I think we are all positives guys most of the time and we also like coming up with idiotic ideas and then following through,” Carney says. ” We have been talking a lot about opening a Wright Brothers themed sushi restaurant called Kitty Hawk. As I imagine you know 90% of all airplanes are filled with meat and in fact the plane was invented to carry fish meat to Dayton.”

Feel Good Together was released by Carney’s label, Audio Eagle Records.  While on tour, label mates the Royal Bangs are opening for Drummer, though Carney brushes aside questions about schooling them in the ins and outs of touring.

“All my ‘road’ stories involve Marriotts and Arby’s.”

Drummer performs with the Royal Bangs at DC9 on Monday, October 12th. Tickets are $12.

Much of the BLK JKS’s press to date invokes afro-beat tinged comparisons to TV on the Radio, Bad Brains and Living Colour, though guitarist Mpumi Mcata brushes off the comparison game by encouraging “the reader to seek out and envision” rather than relying on, you know, critics.

The four-man group has erupted from South Africa as evangelists of any-influence-goes prog rock. Their latest, After Robots (Secretly Canadian), is a rousing yet challenging post-apartheid free-for-all. Such a frenetic melding of different styles, tempos, and instrumentations, though, can threaten to bury the central idea of a song.

“Funny you should say that,” Mcata said. “We used to have talks about a return to innocence… We hope people follow and see and feel this music as we do; music—and not its mathematical sum, which in any case is just guitars, vocals, bass, brass drums, and piano.”

D.C. residents will get their second chance to hear BLK JKS on Tuesday night at the Black Cat with openers Laughing Man. (After a coast-to-coast tour, BLK JKS will move on to Europe in support of After Robots.

“We are totally into D.C.,” Mcata said. “Really interesting and suprisingly mixed open communities even if it was kind of together but not together together, which is kind of the case in most places, it’s still beautiful to see people making an effort….re-imagining society in everyday mundanities; we’re looking forward to it.”

Prog-rock band Secret Machines frontman Brandon Curtis helped produced After Robots, and Mcata’s said of his contribution, “He was there to mediate—expedite the process so to speak. The brother really helped us get to the sounds we wanted…. He was a little bit of amazing.”

With so much going on, it must be difficult to reproduce After Robots onstage, no?

“The show is its own beast.”

The BLK JKS also project a positive image of post-apartheid South Africa, a role they believe artists have in interpreting the political and social events that transpired in their country.

“Oh it’s a major role…our part  is to be ourselves; no preaching or politiking—at least not yet. [Laughs.] You know, most of the world is unaware that such youths walk the streets of Africa.”

BLK JKS plays with Laughing Man at 9 p.m. on Tues., September 29 at the Black Cat Backstage. $10.

Asleep at the Wheel also has long standing ties with the Washington D.C., area:  The group formed in 1970 in West Virginia and started gigging in D.C. They’ve been frequent inaugural ball performers since George H.W. Bush took office,  and were scheduled to play the White House on September 11th, 2001.

Washington City Paper spoke with Asleep at the Wheel founder and sole remaining original member Ray Benson ahead of Wednesday’s show at the Birchmere.

Washington City Paper:  Though Austin is Asleep at the Wheel’s home base, you do have strong connections to the D.C. area. You’ve played inaugural balls for several presidents and were scheduled to play the White House on 9/11. Aside from the Texas connection with the Bush family, why do you think you’re popular with the Washington crowd?

Ray Benson: Well, we started in D.C. We formed in West Virginia and the first gig we played was at L’Enfant Plaza during the Medicine Ball Tour opening for Hot Tuna and Alice Cooper of all people in 1970. We’ve also been playing in the area for 40 years.

WCP:  You had some brushes with President Obama on the campaign trail. Any plans or invites to play the Obama White House? What do you think of their commitment to the performing arts?

RB: We’ve certainly planned playing the White House–they just haven’t invited us yet. [Laughs]. I’m very optimistic about their commitment to the arts. I’m hopeful that the federal government makes a bigger investment in the NEA and arts education. I’ve done work with arts education in the state of Texas, and its not just for performing artists–its for scientists, engineers…its for people that use the creative part of their brains to accomplish great things.

WCP: Willie and the Wheel is quite successful, even generating an on-air shout-out from former Clinton staffer and CNN commentator Paul Begala as the best record of the year. What was your reaction to that?

RB: It was great. I don’t know Paul personally, but he’s from Austin and as far as politics we just want to bring everyone together under one Asleep at the Wheel umbrella [laughs].

WCP: So Asleep at the Wheel are the the real unifiers from Texas?

RB: We really hope the divisiveness that has been so poisonous to our country, we hope that everyone can start thinking about working together. Cooperation is a hallmark of America. Now I sound like a goddamn political candidate.

WCP: A lot of musicians don’t like to label or categorize themselves, yet the Wheel is proud to own the Western Swing label. Have you found that label automatically conjures a context for new listeners coming to your music? Big hats and country piping on the shirts?

RB: The mantle of Western Swing is an all-inclusive one. We can play blues, jazz…fiddle music, anything that we want to play.  The definition of Western Swing is more focused on instrumentation and style. In other words, I can play a Count Basie song, I can play a Dylan song, a Willie Nelson song, and I can play a Ray Benson song. The common thread is that we use fiddles, steel guitar [not pedal], piano, bass, drums, and a horn or two and that’s the instrumentation that defines a Western Swing band. What we can play is wide and varied as long as it fits into that instrumentation.

WCP:  Who are the other practitioners of Western Swing that you consider peers or contemporaries?

RB: Well, first there is a difference between country swing and western swing. When George Strait does his version of swing music it is country swing. It’s not as jazz and blues orientated as the western swing Asleep at the Wheel plays. As far as contemporaries, there’s dozens of ‘em—the Cow Town, a trio sort of thing, Big Sandy and the Fly Right Boys, the Wiyos Band from New York—its very much like bluegrass was in that there’s a lot of folks playing it.

And Merle Haggard, when he decides to play western swing, he has an incredible band.

WCP:  Van Morrison helped the Wheel with its first record deal by mentioning you in a Rolling Stone interview—have you ever been able to return the favor?

RB: Yes, in fact when Van did his country record he borrowed my fiddle player and steel guitar player, and took them on the road. Van and I talked two years ago when he came and visited me in Austin about me producing an album for him but he’s still got a lot on his plate.

WCP: I’m looking at the picture of your studio and there are three portraits on the wall—who are they and what significance do they hold?

RB: Those are three velvet Elvis portraits.There’s the young Elvis, the Hawaiian Elvis, and the 70’s Elvis. One of the main reasons they hang there is that we have a vintage API board in the studio, one of the very same boards Elvis sang through in the RCA studios in Nashville.

WCP: Asleep at the Wheel is approaching its 40th anniversary. What secrets to career longevity have you learned from the iconic performers you’ve played with, like Willie Nelson or Bob Dylan?

RB: Both have very different ways, Bob is always changing and Willie always stays the same [laughs]. I learned to do a little bit of both. Also, while Willie is always Willie, he’s also much like Dylan in that he’ll take on a challenge and that’s what keeps you fresh.

WCP: You’re proud of your Texas base and Austin, even being named the Texas state musician.  Willie famously left Nashville and convinced you to move to Austin. What place does Nashville still hold for country music? What do you think of Austin’s ascendancy into a musical powerhouse?

RB: Nashville has some of the finest musicians, songwriters, and engineers in the world, but unfortunately it’s controlled by pop radio and record companies that want to make a gazillion dollars and really could care less about making good music.

Austin’s success has a lot to do with its variety. From Jerry Jeff Walker to Spoon, Ministry, Stevie Ray Vaughn, the Thunderbirds, Fastball, Sean Colvin and dozens more I’m remiss in not mentioning. The whole scene is based on creativity.

WCP: Are there new bands or artists that you’ve been playing with that you’d like to see get more exposure?  Last time I was in Austin I was blown away by Carolyn Wonderland.

RB: I produced Carolyn’s record and she’s great. She’s working on her second record now. I just finished working on the James Hand record. He’s an amazing hillbilly singer. I don’t work with her but there’s a young lady you’re going to hear a lot about called Kat Edmonson, a fantastic jazz singer.

WCP: Any plans to write or produce more plays [Benson, along with Anne Rapp, wrote A Ride With Bob, the first-ever play about the life and music of Bob Wills] or other non Wheel or music related projects?

RB: A Ride With Bob is our main one, with the plan being we’re going to film it one of these days. We just finished a five date run of sold out shows so it keeps on going.

WCP: Asleep at the Wheel is also known for having a lot of members over the span of your career—who wins in a bar fight, Asleep at the Wheel or Lyle Lovett’s Large Band?

RB: Oh we kick their ass [laughs]. Lyle’s my good pal and one of the greatest of all time, and we used to back him up, but in a World Federation Wrestling match we got them beat.

Asleep at the Wheel performs at the Birchmere this Wednesday, August 26thth with the Olivarez Trio. Tickets are $35. at 7:30 PM wi

Mechanix is back this week, and resident DJ Sean Gone had this to say about tonight’s special guests:

Rapidly emerging American pairing Matt Nordstrom and Orlando Villegas are amongst the most in demand production duos in techno. Previous works for Saved Records (Lucky Drawls & Spanglish) and remixes of the Marco Bailey and Steve Mac have climbed the sales charts and drawing high praise from Dubfire, Adam Beyer, Anja Schneider, Danny Tenaglia, Christian Smith and Loco Dice.

Steve’s Bar Room is located in the heart of Dupont at 1337 Connecticut Ave. NW.
10pm/21+/No Cover

Royal Bangs “Poison Control” from Sundown in the City on Vimeo.

In advance of the September 15 release of their sophomore effort, Let It Beep, Knoxville, Tennessee’s the Royal Bangs are playing the Black Cat’s backstage tonight. The well-crafted Let It Beep rises above typical indie fare: Production is high, a must for a band that brings a multitude of sounds and styles, and the disc’s up tempo songs  should translate well to a live setting.

The driving double shot of openers “War Bells” and  “Poison Control” lay out an ambitious agenda for Let It Beep, an agenda slightly undercut by later lurches into synth territory. The Royal Bangs, however, are not shy about their intentions to fuse “two concepts: the electronic (thick synths and dance-y drum programming) and the pop/rock of the 1970s.”

While there are direct nods to ELO in “Maniverse“, I also heard echos of Tonight: Franz Ferdinand in the synth parts and Field Music’s knack for difficult time changes. The Royal Bangs make several sharp turns through styles and influences, veering from straight indie rock with a dash of jamband, to synth heavy 80’s callbacks. Although it’s occasionally jarring, that’s also one of the pleasures of listening to a promising band’s second album–hearing them find their footing while still staying true to their experimental indie roots. Additionally, Let It Beep delivers clever lyrical turns like the line “In the age of lasers we lost our shit” from “My Car is Haunted.”

Let It Beep was recorded for Audio Eagle Records, the label started by Patrick Carney of the Black Keys. The Royal Bangs plan to tour in support of the new album while opening for Carney’s side project Drummer this fall. The group has already opened for the Keys on their previous tours and acquired road scars from stints at Bonaroo and SXSW.

The album also has some seriously good art:

Listen to “My Car is Haunted” from the upcoming Let It Beep.

John Stirratt joined legendary alternative country pioneers Uncle Tupelo as a bass player in 1993 for their final release, Anondyne. After Uncle Tupelo’s ugly divorce, Jeff Tweedy was awarded custody of Stirratt and they went on to form the much-lauded Wilco.

In a band that used to have a reputation for shedding members, Stirratt has remained a steady force on bass and vocals while collaborating on every Wilco release. He has also pursued other projects, such as a 2004 album with his sister Laurie Stirratt of Blue Mountain, and the band Autumn Defense with his Wilco band mate Pat Sansone.

City Paper spoke with Stirratt about Wilco’s seventh studio album, Wilco (the Album) to be released on June 30. The band is scheduled to perform at Wolf Trap on July 8 with Connor Oberst.

Washington City Paper: It’s not often that a musician can say they were there at the beginning of an influential musical movement like alternative country. What’s your sense of the legacy left behind by Uncle Tupelo?

Stirratt: Well, I was a real part-timer coming in at the end, but it felt a lot like Wilco did in the early days, in that not a lot of people were coming to the shows [laughs]. It’s been fun to watch people’s interest with Uncle Tupelo grow over the years because when it was happening there was not that much interest. They continue to sell records, though, which is great.

Washington City Paper: As the longest serving member of Wilco, along with Jeff Tweedy, it’s well documented the changes the band has gone through. What’s the one thing you can point to that has remained the same in Wilco since the beginning?

Stirratt: Jeff’s tunes and Jeff’s voice as a centerpiece for the whole thing and how it allows for collaboration.

Washington City Paper: Has it gotten harder to work on other projects with your sister or Autumn Defense as Wico’s popularity has grown? Has it helped Autumn Defense by bringing Pat Sansone into Wilco?

Stirratt: Bringing Pat in really did help, and it made the schedules consistent. I’d have to say that having a family has been the main factor in determining my time, and that’s a good thing since you tend to do better work when you have to prioritize, as opposed to just wandering into the studio.

Washington City Paper: Considering Wilco’s high profile support during the election for then-candidate Obama, is the band still politically engaged or have you put that behind you after the election? Have you ever had someone tell you they won’t listen to your music because of your political stands?

Stirratt: [Laughs] I’ve heard rumblings, but no one has told me anything directly.

Our history with the president really is an extraordinary thing. We’ve known him since 2004 and he represents what we love about America. And it has been surreal how it all happened.

There are political minded members of the band who have not stopped paying attention to what’s going on, but maybe the overt political messages and declarations from the stage will tend to happen only during election years.

Washington City Paper : Wilco (the Album) suggests there’s no new overt sonic agenda. Even though Sky Blue Sky wasn’t billed as experimental as you other releases, it still had a definitive sound. Did the impromptu nature of what transpired in New Zealand contribute to putting down an album of just….songs?

Stirratt: We were interested in getting the best sound we could get. There have been records in that past that may have had some limitations that are taken for a sonic agenda. We wanted the capability to go for a denser sound, a sturdier higher-fi sound with basic tracks on this release.

But every record does have a sort of story, and for this one we were in a very comfortable situation recording in the New Zealand summer when it was winter back home. We did strive to get the best sound, and Jim Scott’s [Wilco (the Album) co-producer and engineer] fingerprints are all over it. There’s also something similar since he [Scott] recorded “Can’t Stand It” from Summerteeth. This is the first time we’ve recorded with him since that track. I loved his demeanor then and this record does reflect his sound.

Washington City Paper: Wilco has covered several bands — like Steely Dan and Big Star — do you choose a cover based on the influence that an artist has had on the band?

Stirratt: It’s prompted by various elements. The Farrelley brothers thought of Wilco and that particular Steely Dan song ["Any Major Dude Will Tell You"] for a movie, so that was somewhat dictated to us, and covering Big Star’s “Thirteen” for a tribute album was really indicative of all of our love for Big Star. It’s different scenarios each time. But it is more of a request nature.

Washington City Paper: Sky Blue Sky drew some Grateful Dead comparisons, is there a sense that bands like the Dead have far more influence than previously thought?

Stirratt: The Dead may have a lot more influence on us than people may think, especially American Beauty through Terrapin Station. I have also had people tell me there is a certain timber in Jeff’s voice that is reminiscent of Jerry if you listen real close.

Nels [Cline] grew up in California actively buying records at that time, and he would say he was more of a Quicksilver Messenger Service sort of guy, but I know those early Dead records so well and its really stamped on all of our DNA and almost innate now, the same as it is with the Rolling Stones. Though with Sky Blue Sky there were other influences as well that came from all of our record collections.

Washington City Paper: Do you feel successful in knocking down the album by album narratives constructed for you, like “the second best band out of Uncle Tupelo”, “the band from that movie about how bad record companies suck”, and “the band with a revolving door of members” by the virtues of focusing on playing and releasing music? Do you have a sense that you don’t have to listen to the chatter any more?

Stirratt: It has been nice to leave that stuff behind and get to a state of what the band is now. This new record [Wilco (the Album] I have to say is really honest record and a good snapshot of where the band is. The current line up has a lot of room to grow and the sky really is the limit.

Washington City Paper: The band dealt with the leak of Wilco (the Album) by immediately steaming the album off the Wilco site. How much does thinking of piracy and the business side occupy you guys?

Stirratt: Well, we cast our lot with Yankee Hotel Foxtrot and there really is no way to backtrack on that model. I think the principles behind that idea are sound—that if you have a good record it’s going to be something people are going to want to buy later. The leak is almost part of the process now and you get ready for it and stream the album immediately.

Washington City Paper: Favorite song to play live on the current tour?

Stirratt: I’m looking forward to playing “Everlasting” and “Deeper Down” from the new album.

On Monday night, TV on the Radio exorcised any demons lingering after February’s uncharacteristic misstep on Saturday Night Live with a triumphant sold out show at the 9:30 Club. They opened the cage on the postmodern menagerie of sounds harnessed in the masterful Dear Science while keeping the layered electronic howl respectfully danceable.

Front man Tunde Adebimpe conducted TVotR’s avante garde ruckus, which bordered on a revival meeting and rarely slacked off even during slower numbers. Adebimpe used Science’s opener “Halfway Home” as a template for the set, propelled by drummer Jaleel Bunton. Touring sax player Stuart Bogie spent one half of the show delivering well timed honks and the other half on his knees engaged in the percussive arts.

Guitarist Kyp Malone kicked off a roasting version of “Crying” and put his playing out in front on “Red Dress.” Both “Wolf Like Me” from Return to Cookie Mountain, and “Golden Age” made clear the depth of TVotR’s musical gifts by replicating the textured sound of Science while still sounding spontaneous. This is a band so in sync on stage that they all took a simultaneous towel break after the chugging majesty of “DLZ.”

Photos by Edward Lockett

]]> http://www.washingtoncitypaper.com/blogs/artsdesk/music/2009/06/10/tv-on-the-radio-930-all-blown-up-like-a-ghetto-blaster/feed/ 0 http://www.washingtoncitypaper.com/blogs/artsdesk/music/2009/06/04/q-a-with-easy-star-all-stars-mastermind/ http://www.washingtoncitypaper.com/blogs/artsdesk/music/2009/06/04/q-a-with-easy-star-all-stars-mastermind/#comments Thu, 04 Jun 2009 14:12:16 +0000 Don Carr http://www.washingtoncitypaper.com/blogs/blackplasticbag/?p=6900

In advance of today’s show at the 9:30 Club with Gregory Isaacs, I spoke with Easy Star All Stars co-founder Michael Goldwasser [pictured above, seated]. Goldwasser, as producer, musical director, arranger and guitarist, has been the driving force behind the Easy Star All Star tribute efforts. Those releases have included Radiohead and Pink Floyd tributes, and their recent Beatles tribute, Easy Star’s Lonely Hearts Dub Band.

Black Plastic Bag: You’ve covered 3 albums by British groups. I’m assuming that its a coincidence, but do you intend to cover say an American group? If so, anyone in contention so far?

Michael Goldwasser: It is a coincidence on one level – we didn’t set out to adapt albums by British groups. But there is a strong connection since Jamaica is a former British colony and is very influenced by that in some ways. Also, a lot of my favorite reggae is from the UK. In terms of adapting an album by an American group, that certainly could happen, but we are more focused on finding the right albums to work on and are less concerned with the group behind the album.

BPB: Do you think your method could work in reverse, say a straight up rock band covering Bush Doctor or Catch a Fire?

MG: I’m sure that it could work, and I’d love to see someone take that on. A big part of our mission is bridging the gap between cultures, and a rock band covering a reggae album could go a long way towards that, especially if it was a major act. But I think that a lot of the power of reggae comes from the actual music, so I’m not sure how compelling Catch A Fire would be without those reggae vibes. But I’d like to find out.

BPB: Do you start on an album to cover and find later it’s uncoverable and ditch it?

MG: I’ve started working on the arrangements for some albums, only to find that they were not working well enough to go all the way with. We don’t want to settle for OK; we only want to do these albums if we feel that they can be really great.

BPB: Did you listen to any previous Beatles covers to get a sense of what worked and what didn’t?

MG: No, I didn’t want to influence myself, even subconsciously. Luckily, most of the songs on Sgt. Pepper’s had not been covered in reggae yet anyway.

BPB: Did the success of Dub Side of the Moon give you confidence to continue along the path of covering classic records?

MG: Yes, definitely.

BPB: Any word from Sir Paul, Ringo or Apple? What about the other bands you’ve covered?

MG: We’ve sent out to everyone in the Beatles camp, but no word back yet except from their publishers, who really love it. We’ve had positive reactions from David Gilmour of Pink Floyd and all of the guys in Radiohead. Thom Yorke even gave us props from the stage during a Radiohead concert, which was really great. As the producer, it’s very gratifying to know that the original artists like what we’ve done with their music.

BPB: What was the hardest element to convey from Sgt Peppers?

MG: I was concerned with doing justice to the orchestral parts in “A Day In the Life” – that’s some pretty iconic stuff right there. But by adding a string section to the rest of the band, and then overdubbing them many times, I think that we pulled it off. A lot of people have told us that it’s their favorite track on the album.

BPB: The attention to fidelity and high quality sound is a hallmark of your recordings. What steps are taken in the studio to produce such rich sounds?

MG: Thanks! Well, we operate in a somewhat old-school manner when it comes to recording and mixing. The basic tracks are all recorded to 2-inch tape, and we take care to use as much analog equipment as possible. We do a lot of the recording at Capture Sound in Brooklyn, which has a great live sound. I do dump the tracks to Protools for ease of editing, but the mixing is all done live through a great board with a lot of vintage outboard gear. This album was mixed at Studio G in Brooklyn, which had everything that we needed in that regard. We also use a great mastering engineer, Jeff Lipton at Peerless in Boston. But maybe the most important aspect is that we really try to take our time to get things to sound right. Even with the limited budgets that we are working from, I know that if I plan well and have as many things worked out ahead of time as possible, then we’ve got a good shot of achieving what we need.

BPB: Circling back to the first question, can you give any hints on what album is next for the Easy Star All Stars?

MG: Sorry, I really can’t. We want to surprise everyone when we finally announce the next one to the world. But rest assured, we’re not going to do another one of these albums unless we find the right album to do.

The Easy Star All Stars perform with Gregory Isaacs Thursday night at the 9:30 Club. Doors open at 7:00 pm and tickets are still available for $25.

With a Little Help From My Friends – Easy Star All Stars

I struggled with my approach on reviewing the newest from the Easy Star All Stars—Lonely Hearts Dub Band. There are as many Beatles covers floating around as there are batshit crazy Heather Mills quotes. Most aren’t worth the time, though this tribute to Rubber Soul had its moments and this compilation from the Atlantic and Warner jazz vaults is superb.

Reggae cover albums offer their own set of challenges. As on the recent epidemic of bluegrass cover records (see Pickin’ on U2), it takes more than applying a different musical style to produce a transcendent cover. Think more “Johnny B Goode” and less “I Can See Clearly Now“.

However, both of the Easy Star All Stars’ previous tribute projects, Radiodread and A Dub Side of the Moon are superlative deconstructions of the source material rebuilt into tight yet expansive riddums. Dub Band is different in that the original Sgt Pepper’s is so omnipresent. The Easy Star All Stars are able to surmount this challenge by injecting new energy into tracks like the opener and “With a Little Help From My Friends”, songs rendered flaccid by relentless classic rock airplay. Guest vocalists adorn Dub Band, with reggae royalty Steel Pulse shinning through on “Good Morning, Good Morning”.

The production is in front like the other releases. I’m anxious to hear it on vinyl, since the sound was deep and rich for an MP3. “When I’m Sixty-Four” listens especially well, taking on a trippy bass and reverb-washed feel. The only knock I have on Dub Band is that they didn’t end the album closer, “A Day in the Life,” with the sound of four simultaneous bong hits.

With a Little Help From My Friends

When I’m Sixty-Four

Multi-instrumentalist Jon Rauhouse is one of those musicians whose skill and easygoing manner keeps him in high demand. He started playing in bands in 1977 (on banjo), eventually landing with the Grievous Angles in the 90’s. He’s recorded and played live with Calexioco and the Waco Brothers and even dabbled live with the Boxmasters prior to their tuqes getting revoked.

Jon is an accomplished master of the pedal steel, and has done several recordings featuring the instrument. For the past decade, however, he’s been lending his abilities in studio and on the road to Neko Case. I spoke to Jon following Neko Case’s two sold out shows at the 9:30 Club.

Interview below the jump.

Black Plastic Bag: You’ve played with an impressive list of singers and musicians—who is the most exacting collaborator?
Jon Rauhouse: (Laughing) I’d say I’m the most exacting. Neko has a good idea about what she wants when we go in the studio, which makes it very easy on us.

BPB: What is about the pedal steel that brings an almost fetishistic sense it its devotees?
JR: I think its the combination of being a harder instrument to master and the way that it can mimmic the human voice.

BPB: Is there a better collaboration in country music this year than Willie and the Wheel?
JR: Well, Willie and Ray Price comes pretty close. Willie got onstage with us once with the Boxmasters and just went off on the guitar. It’s pretty amazing what the man can accomplish in his seventies.

BPB: So you have the Secretary of Education onstage during your show when you come to DC, any other cities on this tour top that?
JR: That was pretty special. Neko has been a vocal advocate for education. The Secretary was low key, no entarouge, and a really nice guy.

BPB: You’ve played with John Doe– is he as pissed off backstage as he appears on stage or on screen?
JR: Not at all. A really nice guy. I give him a call whenver I see him on TV and he gets a kic out of it.

BPB: You’re longest or at least most extensive collaboration has been with Neko Case. What’s they key to your longevity with Neko, both on tour and recording, especially considering how her popularity has soared over that time?
JR: We’re friends. Its as simple as that. I’ve been with her for 10 years, and the current band has been going for 5 years, so everyone is good and tight.

BPB: Any new band you like that you’ve been working with?
JR: I’ve done some stuff with Rachel Flotard of Visqueen, they’re fantastic.