Cassavettes: servants to Music, a fickle mistress

New home

2010-05-18T10:01:00.000-07:00

Well, friends, the time has come. We have a new online home at cassavettesmusic.com (our old online home). All of the elements of Cassavettes on the internet, from Facebook to Myspace to this very blog, can now be found in one tidy package. Enjoy the work of web guru Sooz!

Ripped off

2010-05-11T09:07:00.000-07:00

After more and more people began inquiring about the van break-in/robbery over the weekend in NYC, I figured I'd post this summary I sent to our friend Ryan (of Ryan's Smashing Life). He has been a kind supporter, offering to help however possible. We appreciate all the support we've gotten so far. Just to fill you in, here's what went down...

We played at Pete's Candy Store in Brooklyn and afterward drove to a friend's apartment about 3/4 mile away. We parked, admittedly in a sketchy area, and walked two blocks to his house. Upon arriving, I decided to go back to the van to check if it was violating any parking orders (last time we were in NYC we had some bad luck in this department). It wasn't in violation, but I took note of the building across the street as it had all its windows missing (foreshadowing!) and considered moving the van closer to the party. In retrospect, I obviously wish I had...or left NYC altogether. But hindsight is 20/20. Anyhow, I returned to the party, which we stayed at for a very brief period (15-20 mins) before returning to find our back passenger side window smashed, and missing Scott's bass and Matt's kick pedals. Now, obviously this sucks for a variety of reasons, but we are fortunate that we 1) weren't cleaned out entirely, 2) weren't present at the time of the crime (who knows what would have happened? if they have the capacity to steal, they perhaps could harm in other ways) and 3) didn't have the van stolen. So, it's a good time to count our blessings. That isn't to say we're at all thrilled with what was lost: Scott just recently purchased that bass, at quite an expensive pricetag, to replace YET ANOTHER stolen bass. So, he is not feeling too great now. Furthermore, my van's insurance doesn't cover the instruments (only items "attached" to the car) nor does it cover the window, since they slyly priced it slightly under my deductible. Of the ladder, I am actually quite surprised and pleased, however, as I expected the window to be a $1,000+ job as most of the van's expenditures have been as of late. Still, I'm paying for something I don't want to, and money's tight, so it's just a bad situation. Either way, the only conclusion I can draw is that we did something to piss off the city of New York, as our last few trips have been an insane spiral of theft, parking tickets, towings, and what have you. All this after over four years of peaceful trips to NYC. What gives?

Anyhow, we're still sorting it all out. Initially, I considered having some sort of fundraising effort to help pay off these accruing debts. Now I'm not certain if I want to do that. I think this is just an occupational hazard of being a musician, and frankly, we're fortunate to not have endured a break-in until Saturday. And as I said, it could have been far worse. Truth is, I can't think of what we could have done differently besides avoid the situation altogether, but how often is that going to happen? It's a coin flip, really. Do I go to the party and risk getting robbed? Who would have known that was a distinct possibility? It's NYC -- of course you can get robbed at any time! So, the only thing I may do different is bring a big ole blanket around with us to throw over the stuff in the back, as to not have any shiny objects catch the eye of passersby. Even that seems like it could attract more attention (also, I don't like this idea of always removing the instruments, because it's A LOT of stuff -- who shows up to a party for 15 mins with all their gear?). Finally, I think I will invest in ASCAP's musical instrument insurance. Clearly, that would have been a good idea to have. Again, thoughts after the fact.

Hopefully we get the equipment and window replaced promptly (I can't keep driving around with a cardboard window), and just put this whole ordeal behind us! We shall see.

All just a dream

2010-04-19T10:48:00.001-07:00

The LSAT doesn't scare me, but what it implies for the band does frighten me a little bit. I take the test in June. I would enroll in a law school (somewhere) next fall. I know that the demands of law school's first year are so high, and that playing in this band simultaneously is nearly impossible. I also know that this plan may require a move. Does this all put an expiration date on the band? A ridiculously close expiration date? Well, I'm not giving up that easily, nor am I delaying my future. In fact, I think it should fuel us to work even harder than before. Look at it this way: We have one year to see how far we can get, and then re-evaluate (who knows what happens at that point? If things within the band are going great, then maybe I delay my first year -- but it all depends on what we do now). That's why my work ethic needs to change. That's why we all need to recommit to the band. We owe it to ourselves and to each other. There's a lot invested in this band, personally and financially, to not try to see what the potential pay-offs can be.

I suppose the good news about this LSAT prep class is that when I get busy, I keep myself even busier. This is true: the most productive years of my work in the band's business side coincided with a hectic schedule of college classes, a part-time nights and weekends job, an unrelated editor's job at the college paper, and, of course, the regular duties of a hard working, big dreaming rock band. This isn't to say that my post-college life hasn't been busy, but it hasn't kept me fueled my passion in the same way. That's for certain. If anything, I have just felt bogged down, and have found trouble mustering the mental energy to work my ass off again. Well, consider that changed.

This band needs to get back on track. That's why on this day I'm blogging an original blog for the first time in months -- not merely some show announcement or press release. The principles that we enacted very early on in this band seemingly worked: believe in yourself, in each other, in your hard work and, most importantly, put yourself in a position to succeed and see what comes of it. In this fickle industry, nothing is guaranteed. Talent and hard work are more often than not unrewarded. But that doesn't mean you can't try. That doesn't mean you shouldn't try. Therefore, this is about getting the four members of Cassavettes back together.

This has been a difficult, weird few months and I think we all felt more estranged from each other, and our collective goals, than ever before. And it's hurt us professionally. Despite putting out arguably our "best" work in November, we find ourselves at a crossroads just a half-year later. We started putting the pieces back together during our great SXSW trip this year, which was the result of a lot of hard work (by me, and by Creamer) and paid dividends interpersonally that I think we continue to enjoy. But a lot to needs to change still. We need to consistently play well -- obviously, you may not play every note correctly, but that's music. But we need to play for each other, and play for the band. The selfishness that hinders us is creeping back into our playing, and often makes me feel like this whole thing isn't worthwhile. Anyone else? Playing these songs is about putting the song first, and everything and everyone else taking a backseat. We made considerable progress at that for awhile, but the problem is that bad habits sneak back in a lot. We need to get people excited about the band, and that starts with US getting excited about the band again. I'm there, and I trust that my cohorts can be as well. We need to diversify and show off our versatility at shows, if it's indeed true that our live shows have grown stale. Fine. We need to increase our web presence, and also get back to the traditional means of promotion -- word of mouth, flyering, flooding bloggers' inboxes, Facebook invites. That's how you get people through the door. That's how you get people excited. It's harder when you're older, and out of college, of course, because there isn't that "community" anymore. But it's not impossible. We need to approach the schedule as a series of steps again instead of a random smattering of shows, as it has been. That one's on me. I got it. We need to build up regionally, and the steps are being taken for that to happen. And finally, we need people to believe in us again. That's the hardest thing to accomplish, but it comes from believing in ourselves. At one point, it was a top priority for me to have everyone who hung out with us and came to shows to feel connected to the band, as if they were in the band themselves. I think the fracturing within the band has led to a divide with our friends, fans, and audience. It's not an impossible chasm to cross, but it will require another leap of faith. I'm willing to work for your trust again.

A lot of this is up to me, and I am willing to meet the challenge. But this is a band, and it's not about what I do as an individual. It's about how we work together, how we play together, how we dream together. Because this whole thing started as a dream. It's time to start dreaming big again.

Cassavettes Texas Tour!!!

2010-03-12T08:48:00.000-08:00

Hello friends,
This weekend we are coming home! During a two-week mini-tour we will be hitting our hometown of Lewisville (Dallas/Denton), Texas, as well as the South by Southwest Music Conference in Austin. I'll be blogging (and possibly filming) the whole thing for boston.com. So, come say hi! Here are all the details... we hope to see you out there!

Friday, March 12 at 8:30 p.m.
Cassavettes w/ Informant -- hometown reunion!
At Tequila's, 2300 Highland Village Rd, Ste 1100, Highland Village, TX
Link: http://www.facebook.com/event.php?eid=341819099762&ref=mf
Notes: This will be a flat-out fun time -- as close to our old stomping grounds as I think we've ever played. Which means: Were they really our stomping grounds in the first place? Soon-to-be old stomping grounds, perhaps.

Saturday, March 13 at 1 p.m.
NX35 Day Party
At Cool Beans (rooftop), 1210 W Hickory St., Denton, TX
Link: http://www.facebook.com/event.php?eid=391470522891&ref=mf
Notes: This show is the warm-up for the day's headliner: The Flaming Lips! It's also totally FREEEE!

Thursday, March 18 at 1:45 p.m.
Wente Vineyards Discover the Music Wine Bus (Glenn Yoder & Todd Thibaud)
At WFM (Whole Foods Market) gateway, 9607 Research Boulevard, Austin, TX‎
Link: http://www.wentevineyards.com/discover/promo/wente_at_sxsw/
Notes: This show will be simulcast live to the Whole Foods in Illinois on a 96 inch screen as well as on the Whole Foods website, Justin TV, and Blip FM.

Thursday, March 18 at 7:30 p.m.
Show TBA
Notes: Sorry for the ambiguity. This one is taking a bit to nail down the specifics, but I wanted to give you a time and date, in case this is the only time and date that works for you. We should have this figured out soon!

Friday, March 19 at noon
Sonicbids & Planetary Group SXSW party
At Maggie Mae's (downstairs), 323 East 6th Street, Austin, TX
Link: http://www.sonicbids.com/SXSWParty/
Notes: Two colossal powers, Sonicbids and Planetary, are throwing the biggest party of SXSW. Well, close to it. Please RSVP for this free show -- even though it should be no problem for you to get in, they just want to know what to expect.

Friday, March 19 at 2 p.m.
SXSW Day party
At Guero's Taco Bar, 1412 S. Congress Ave., Austin, TX
Link: http://www.facebook.com/event.php?eid=359433086536&ref=mf
Notes: This is a free day party, all ages, just come by and rock out, drink some margaritas in the Oak Garden.

Saturday, March 20 at 8 p.m.
Cassavettes w/ Girls Guns & Glory, Oh No Robots, Savage & The Big Beat!
At J&J's Pizza, 118 West Oak Street, Denton, TX
Link: http://www.myspace.com/jjspizzaolddirtybasement
Notes: One last (free) show in our old hometown, bringing back our best buddies from Boston (GGG) and pairing them with an old friend (Rob of ONR) and new friends (S&TBB). This is what it's like when worlds collide!!!!!!!

Rodfest on Saturday

2010-01-28T13:45:00.000-08:00

Howdy friends,
As many of you know, each year we play a musical event called Rodfest, which means quite a bit to us and several of our closest friends in the local music community. All the money that comes in goes to a Stonehill College scholarship fund established in the name of Greg "Rodney" Moynahan, the life of the party to many who died in an accident several years ago. His annual "Rodfest" event has been carried on literally in his name, and is a celebration of life that truly is the biggest party of the year. No joke -- this night gets WILD. People, including us, have come to expect the best night of the year from Rodfest. This Saturday, Jan. 30 at The Paradise Rock Club will be our fourth Rodfest, and the eighth overall, and each year this thing just gets more spectacular. It ALWAYS sells out, so my suggestion would be to get your tickets early from either the box office (no surcharge), online (link below), or at the door (just make sure to be there early!!!). Full details, and the fine line-up, are below...

Rodfest 8 w/ Three Day Threshold, Cassavettes, Quixote, Death and the Dance Machine, Sam Reid and The Riot Act, Chatham Sessions, Colin Toomey & Kevin McDevitt
Saturday, Jan. 30, 2010 at The Paradise Rock Club
967 Commonwealth Ave., Boston (Green B Line, Pleasant St. Stop)
Doors at 8 p.m., $15, $18+
Tickets here
Directions and more info here

We hope to see you at this year's Rodfest! Also, don't forget that you can buy our new album, Shake Down the Sun, CHEAP on iTunes and Nimbit!

It's coming

2009-11-04T14:36:00.000-08:00

In the words of the immortal Fritz, responding to why he stopped maintaining his blog, "I got Twitter." True, it's faster and reaches more folks, which is why I've been lazy. So, here's a little mass PR pitch...ahem, last minute plea...

Thanks for sticking with us, it's the home stretch now! We're not far off our huge CD release party -- this Friday, Nov. 6 at the Middle East Downstairs with our good friends Movers & Shakers, You Can Be a Wesley, Quixote, and Jookabox (Asthmatic Kitty Records). It's going to be a momentous occasion for us and a big celebration for everyone after a lot of hard work on our new disc, "Shake Down the Sun." We really hope you are able to join us for the party!

CASSAVETTES CD RELEASE PARTY
Friday, Nov. 6, 2009
Middle East Downstairs, 480 Mass Ave., Cambridge
w/ Movers & Shakers, You Can Be a Wesley, Quixote, & Jookabox
18+, $10 advance/$12 at the door

TICKETS...A friendly reminder: You can avoid needless surcharges by purchasing tickets from the Middle East Box Office, (617) 864-EAST ext 221. However, if you are one for instant gratification, you can buy them online here.

DIRECTIONS: Red Line T stop (Central Square) or click here.

Facebook invite.

To listen to songs from our new CD, please visit our MySpace page.

Thanks and we really hope you are able to join us Friday!

Back from tour, off (again) to NYC

2009-10-22T10:37:00.000-07:00

Hello, friends. I wanted to briefly write you for two reasons: 1) Our CD release on Nov. 6 at the Middle East Downstairs is lurching closer by the second, and 2) We are headed to New York City for the CMJ festival tomorrow, Friday. Read on for details...

On that CD release, we now have an extraordinary five-band bill: Cassavettes, Movers & Shakers, You Can Be a Wesley, Quixote, and Jookabox (Asthmatic Kitty Records). We'd love for you to be there, too, as this is going to be a big night for us. This CD, "Shake Down the Sun," is hopefully a big step forward for us, and this release show is going to literally be a party to celebrate that monumental (at least in theory, as of now) step. Grab your tickets today, as this thing is gonna get nicely naughty in a hurry!

Also, see a cool CD release show poster, designed by Chris Cerrato (who did the CD design). Print some out, hand them to friends/family/strangers, hang it in your room and fall asleep looking at its intricate design, and wondering if Chris Cerrato is man or myth.

Now, as for this thing tomorrow at CMJ, we are playing Pianos at a Planetary Party headlined by (who else?) Superdrag, featuring some esteemed musicians, like Boston's own Will Dailey. We play as early as the rooster crows for these musician types, 1:40 p.m. If you're interested in coming out, give us a shout via email, cassavettesband (at) hotmail (dot) com. We'll see what we can do. Full details, click here.

That's about it. We hope to see you out at the CD release show, Friday, Nov. 6 at the Middle East Downstairs. It's going to be fun!

Toad tonight, Road tomorrow

2009-09-22T10:17:00.000-07:00

The night before I started recording my solo album, wandering off into the expansive, lonely wilderness without my friends, I serendipitously watched "Into the Wild." It was not planned, but it hit home and made me relate in a cheesy fashion. Before this tour? "The Perfect Storm." Again, seemingly apt, considering that there's a lot of teary goodbyes before the ragtag group of misfits hits the open sea (or road, in our case). However, considering the ending, hopefully it's not a harbinger. Then again, the end of my recording process wasn't at all like the end of "Into the Wild." So I think we can write our own ending to these stories.

Last Toad Tuesday tonight. I'm pretty pumped because I think it's going to be pretty darn wild. Lots of good times, lots of good friends. I want to start early, and stay late, and make sure we soak up as much time with the important folks as possible before we hit the road. I know it's not a long tour, but this is our LAST local show until our CD release on November 6 at the Middle East Downstairs (speaking of, tickets just went on sale and the first 50 people to pick them up get a special prize -- I mean it. So, I just want to enjoy this one.

Here's where we're headed, starting with a stopover in Buffalo, NY tomorrow. And since I got a new phone yesterday, you can follow this whole shebang on TWITTER -- whoo!

9/24 Javier's, Cincinnati, OH (Midpoint Music Festival)
9/25 Brand X taping @ Xavier University, Cincinnati, OH
9/25 Al's Bar, Lexington, KY
9/26 Barley's Taproom, Knoxville, TN (w/ The Tenderhooks)
9/28 Hi-Tone, Memphis, TN (w/ The Tenderhooks)
9/29 WDVX Blue Plate Special (radio taping), Knoxville, TN
9/30 The Pinhook, Chapel Hill, NC (w/ The Tenderhooks)
10/1 The Milestone, Charlotte, NC (w/ The Tenderhooks)
10/4 Velvet Lounge, Washington, DC
10/6 Khyber Pass, Philadelphia, PA
10/7 Pete's Candy Store, Brooklyn, NY
10/8 The Oasis, New London, CT
10/9 The Dive Bar, Worcester, MA

Trashed, like Grover

2009-09-16T14:07:00.000-07:00

Couple quick things, most of which are (oddly) now covered by Twitter (is this making the blog look long-winded, and perhaps obsolete? That's what happened to Fritz's Xanga, as you'll recall).

First off, for those of you in the digital age who don't like hard copies of CDs, or are partial to instant gratification, we now have our new CD, "Shake Down the Sun," available in both MP3 form and CD form. Click here to buy for absurdly low prices (but it's always cheaper if you come to a show!). Please support the cause!

Next up, we are for some reason (not ungrateful, of course -- just surprised since we weren't notified at all) up for Band of the Month over at Deli Magazine. You can vote for us here, and it would be much appreciated.

Final quick mention, we are close to re-confirming our Philly show at Khyber Pass for Oct. 6. The club switched agents and it was in limbo for a bit, but we are looking pretty good to go now. I will keep you posted as we get closer. For now, let's plan on meeting in Philly Oct. 6 for a steak-and-cheese (that I can't eat anymore, since I don't do the red meat, but you can enjoy) and Shiner (in select places). Yuengling will be the backup.

Last night's Toad show was looking rocky at the start, but really smoothed out over time. Mike's amp had some serious issues and I'm still fairly certain, upon listening to the recording of last night's show, that his overdrive pedal is shot. Lots of between-note squealing going on. Anyhow, after the first four songs or so were wildly unbalanced, we got the knack of things and, best of all, the place started to fill up. It was pretty packed by night's end. Due to the delay caused by equipment problems, we decided to forgo the set break and play through. Good thing, too, because that's when we really started "cooking." Still a bunch of mistakes, and a lot more loudness and showboating than I would have preferred, but all in all, it was OK. Crowd was a bit quiet for being so filled out, but they seemed to enjoy it. And I enjoyed that, clearly. Either way, quote of the night goes to Creamer, explaining to a new fan that Grover does NOT live in a trashcan with Oscar the Grouch, explaining, "Don't get me wrong, I mean, he's all dirty and shit, but he doesn't live in a trashcan."
SET LIST (I'll need to check this against the recording): Ordinary Girls / Debts / Research Blvd / Empire Central / Don't Get Me Wrong / There's a Reason / Whitewashed / Golden Fleece / Trouble From the Start / St. Anthony / The Nadir / On Our Own / The Devil's Arms / Valley of Gold / A Hard Rain / Lights On / Carolyn, Don't Leave Like This / Madeline / Seek Cover / Cedar / I Come From the Water / Shotgun Wedding / Shine a Light

Our last Toad Tuesday before we leave for tour is Sept. 22 -- so, yeah, next week is going to be nuts. All I'm saying is you better be at Toad next Tuesday, and early at that. We might just go crazy!

ADDITIONAL NOTE: A wee bit of blog and newspaper chatter, since I haven't check in awhile, and confirmation that Sean Murray recalls his offer to book us once a month at The Oasis.

Cheap Thrills - For Toad, last night: "Wanted to go to Toad last Tuesday? Cassavettes and Mia returned just for you. From gig to gig, I've Cassavettes hit multiple points on the roots-to-rock meter. Who knows what mood they'll be in, but the room size suggests they'll be in an easygoing alt-country groove tonight."

The New Haven Advocate, For I Am Festival, last weekend: "This year that includes New Haven's avant-skate rock trio The Vultures (who drop their long-awaited, razor-sharp first full-length Chingus exactly a week after I AM) and psych-pop ensemble M.T. Bearington (who had to cancel last year's festival but have continued to amass audience goodwill through 2009); Boston's Cassavettes (a band Murray was so excited about "I promised them I would book them once a month — I definitely haven't done that!"); and, from New London, ukulele-punker Brian Skidmore and his band The Weird Beards ("they've been getting a huge following as of late," Murray says."

Finally, I noticed in my scouring of the net, that we are mentioned on a couple Australian music sites, because we are playing next to Aussie Mia Dyson. I wonder if this exposure will finally make us big Down Under (and no, that's not a member joke).

Out on the town

2009-09-14T09:10:00.001-07:00

Crazy weekend. My buddy Jimmy is in town, so things have been hectic at work as I try to handle not taking off any time (since the band is going on tour next week) with actually seeing the kid and making the most of his stay. As a result, we burned the candle at both ends this weekend, starting with a show Friday at The Beachcomber.

Now, usually, when we play the Beachcomber, we have Girls Guns & Glory on board. They are from the South Shore and a reliable draw. Also, it's usually summery weather, which is good, because this place is a beach joint and ALL ABOUT summer feelings. In this case, we didn't have either, and while I was surprised and fairly pleased with the outcome, I'm not so sure the club was. The only thing besides an iffy draw that might have caused ire is that (despite my best efforts), we ran overtime by seven minutes. I know this because when I jumped off the stage, the detail cop grabbed me and said, rather disgusted "1:07 -- you're welcome." I said, "Thanks?" Yes, a question. Regardless, we had a good time, and had some Alabama slammers and tooters. I'm pretty sure both are just juice. The band was sloppy, but didn't I just tell you about the Slammers and tooters? We were probably getting a sugar high off those drinks. Besides, it's the Beachcomber. It's supposed to be wild. Jimmy had a good time though, and on the way home, begged for Burger King then fell asleep, woke up, and screamed into the BK intercom. Good night.
SET LIST: Ordinary Girls / A Hard Rain / Research Blvd / Lights On / Carolyn, Don't Leave Like This / Madeline / Golden Fleece / Seek Cover / Trouble From the Start / Whitewashed / Cedar / Shotgun Wedding / Shine a Light

The next afternoon, we all met up in our old stomping grounds of New London, Ct. on a dreary day. Not the kind of day you want to play an outdoors show, but such was the case at the I Am Festival. Weird note: Since we've been going to New London, the great thing about it is that it is fairly constant. Nothing changes, and it's always fun. This time, it seemed like EVERYTHING had changed, some for the much, much worse. Two divorces, one death, several coast guard guys shipped off to other remote areas (Bahrain?). It was a lot to take in. As for the show, it was an impressive set up, but I think the weather dashed any hopes of big crowds. And we may not have been right up most of the kids' alleys -- even if one dude was really into it, headbanging and nudging Jimmy repeatedly. We did sell a decent amount of merch, so maybe folks liked the jams more than I thought? It's hard to read a crowd sometimes. After all, even when I'm really into something, I rarely act like it. It's just a thing. A vibe thing, I guess. Anyhow, I officially started my experiment of recording all of live shows (fingers crossed) and have yet to dump the audio, but an initial listen sounded OK. Again, we were sloppy and I'm coming down with a cold, I think, and having some major trouble singing, but some songs were pretty on. So, we'll see what happens as I undertake Cassavettes' archives project.
SET LIST: Ordinary Girls / Lights On / Seek Cover / Don't Get Me Wrong / Golden Fleece / Cedar / Shotgun Wedding / Shine a Light

After the show, Jim and I went south to NYC for a quick 24-hour whirlwind adventure. Some of the highlights: hanging with AJ whose new place and new life are equally fantastic; hanging with Joe Bug, L Ro, and Stephen (and Jimmy and AJ) at Pete's Candy Store without having to play a show; doing the tourist thing at the Statue of Liberty (where we went through two security checkpoints, one of which inexplicably blows air on you in short, sudden bursts), Wall Street, Ground Zero, Times Square, and Central Park; seeing a dude in the park with a battery-operated blender, illegally mixing margaritas for customers out of a backpack he was carrying about; and finally, having some really good NYC food (sweet deli sandy, awesome late-night za). All in all, good, albeit brief, trip. Looking forward to the tour, as this seemed like an early preview in some ways, of both the good and the bad.

Tonight, we complete our costly, yet fun, tour of New England with a visit to the Patriots game (my first), which has Matt green with envy -- making him look very Christmas-y when you add in the red hair. Tomorrow night, we're back at Toad for week two of our residency. Ought to be a good one!

Finally, hard copies of our CD are for sale now on Nimbit (see below) and I joined Twitter to convince more folks to come to our shows (see right rail). Hopefully both are positive connections!

Dipping and diving

2009-09-08T11:00:00.000-07:00

Good show Friday at the Dive, on the outdoor patio no less. Not much to say about it -- standard set, we played everything normal except "Trouble From the Start," "Seasons" (you could make a case that that is no longer normal), "Lightning in a Bottle" (ditto), and "Like Secrets Beneath." Surprisingly, we got a great response to "It's Gonna Be Alright," and even better, we sold a few CDs! This was, after all, the first show that "Shake Down the Sun" was available. Weird, eh? Playing that late on the patio caused that weird morning dew to build up on my amp and my satchel, and when I wiped it off, at first I thought some jerk spilled beer on it. Then, my senses caught up, and I drifted in memory back to sleeping in my backyard as a kid and waking up to find myself covered in dew. Oddly enough, at that time, I remember usually thinking that the sprinklers had turned on. Always looking for something to blame...

Anyhow, the only other news is that I quit stalling and joined Twitter (be our friend...or follow us or whatever it's called) so that we can update from the road on tour and post about shows and what not.

Here's the big post I sent out to fans about tonight's shindig (not on Twitter, obviously):

Hello friends,
In June, we played a FREE show Toad in Cambridge's Porter Square every Tuesday as part of a residency -- what we deemed "Toad Tuesdays." Well, we here at Camp Cassavettes, as well as the staff at Toad, were so pleased with everyone's party attitudes each week that we're doing the residency again this month! Starting TONIGHT, Cassavettes will play for FREE the next three weeks at Toad -- until we leave for tour! Tonight, we are playing the late show, starting at 10 p.m., but every week after we will be back to the early show, at roughly 7 p.m. Excited? I thought you might be!

Cassavettes at Toad
1920 Massachusetts Ave., Cambridge
Porter Square stop (Red Line T)
9/8 (late show, 10 p.m.), 9/15 (early show, 7 p.m.), and 9/22 (early show, 7 p.m.)
21+, and TOTALLY FREE!
http://toadcambridge.com/

And........... as if a FREE show at Toad each week weren't enough to get your tail wagging (and maybe it isn't), how's this: We'll be selling advance copies of our new album, "Shake Down the Sun"...for...wait for it...FIVE BUCKS!!! So come on out!

Also, the cold air is already starting to sweep into Boston. My, my, my, that was a short summer, wasn't it? Well, before it chills out TOO much, come toast summer one last time, with our annual Bash at the Beach, this Friday, September 11, at The Beachcomber in Quincy! Also on board are our old pals Ette and The Rambling Souls -- it's gonna get nutty. Go here for all the details: http://beachcomberquincy.com/
The next day, September 12, we will play a day-time show in New London, Ct., as part of the annual I Am Festival with Deer Hoof and a slew of other great acts. Should be fun!

Finally, since the CD is out, we are taking this baby on the road. We will depart after our last Toad show on Sept. 22 and not come home until the thick of fall -- Oct 10. Here are the full dates (more may be added), so mark your calendars, out of town folks -- we hope to see you out there on the road!

9/24 Javier's, Cincinnati, OH (Midpoint Music Festival)
9/25 Brand X taping @ Xavier University, Cincinnati, OH
9/25 Al's Bar, Lexington, KY
9/26 Barley's Taproom, Knoxville, TN (w/ The Tenderhooks)
9/28 Hi-Tone, Memphis, TN (w/ The Tenderhooks)
9/29 WDVX Blue Plate Special (radio taping), Knoxville, TN
9/30 The Pinhook, Chapel Hill, NC (w/ The Tenderhooks)
10/1 The Milestone, Charlotte, NC (w/ The Tenderhooks)
10/4 Velvet Lounge, Washington, DC
10/6 Khyber Pass, Philadelphia, PA
10/7 Pete's Candy Store, Brooklyn, NY
10/8 The Oasis, New London, CT
10/9 The Dive Bar, Worcester, MA

That ought to do it! Make sure to keep an ear to the ground for "Shake Down the Sun" -- mark your calendars: the official release party is November 6 at the Middle East Downstairs with Cassavettes, Quixote, You Can Be a Wesley, and Movers & Shakers! In the meantime, we hope to see you at Toad...or on the road!

Whoops, put my work email on here. Ignore that (I just deleted it, but if you're seeing it in RSS, disregard)...

Back from beyond

2009-09-03T09:41:00.000-07:00

Quite a nice trip to San Fran and Napa. I enjoyed the trip thoroughly, up until the ride to the airport, in fact -- TD and I completed a bike ride over the Golden Gate bridge to Sausalito just before boarding. As for the wine, I only went too far once -- on a port wine called Caberet (not to be confused be cabernet sauvignon) from Nichelini (the most quaint, and in my opinion, most legit winery we toured). It was a bad combo of port wine and cigars, neither of which, I must admit, am I very experienced in. But for the most part, we spent the days traveling about, sampling at the vineyards, and spending more money than we should have. It's funny how much that area of the country looks like central Texas. During my morning runs, I was really taken back to the time I spent in the hill country outside San Antonio last September. Perhaps I will post some photos shortly.

So, I have yet to reconvene with my musical kin, but tonight we shall. I'm excited because I'll have copies of our new CD. One of the things this trip gave me perspective on may be quite huge, actually. I must have listened to "It's Gonna Change" three times. Once, a relative put it on during dinner to embarrass me. That sucked. But later, I made peace with that record -- no small feat, as any musician who has a back catalog knows. I have long looked at that record as a good stepping stone album, but also a missed opportunity. I fully believe, still, that it's a STRONG record, writing-wise, but it just didn't showcase the performances we wanted. It was rushed, perhaps -- a lethal combination of not knowing any better and not wanting to overspend (sounds like the port wine/cigar combo, eh?). But listening back to it for the first time in a long time, it sounded refreshingly new. There were so many elements I had forgotten -- not the least of which is how much pleasure we used to take (and the crowd used to take) in "It's Gonna Be Alright." The song fell out of favor when I stopped playing piano live, and our reworkings have never really worked. But, listening to a live recording of our two-year anniversary show, when Mike hits that opening chord, the crowd goes ballistic. A girl screams like it is literally the most exciting moment of her week -- she actually sounds more terrified than excited, so maybe she saw a ghost at the exact same time that Mike hit the chord. It's insane! I don't recall that kind of response to the song, but see, memory forgets these things. Washes right over them. I'm not saying that we need to bring that song back all the time -- that would be a step backward in our evolution of a band. But it's also important to remember where you came from. I think this trip really gave me some perspective on that. I guess that's what family reunions are for (even if that recollection was about music).

Also, listening to that same two-year anniversary live show (yes, I gave Cassavettes material a thorough listen), I noticed that we opened, of all things, with a song that we had not played but once before or really since, at least in a dog's age (it's called "She's a Bright Light"). It's funny, because I brought up the idea of resurrecting this song to the band about a month ago, and the response was better than I expected. Best of all, for being a "piano song," and a "harmonica song" (like "Alright"), this one actually lends itself to the switch to a guitar-driven tune. I messed around with it at about 3 a.m. the other morning. I think it could work. Worth a shot.

Anyhow, the band has a busy month coming up, with touring and what not. This Friday, we're back at The Dive for the first time in a long time. Next week, we re-start Toad Tuesdays (late show next week, 10 p.m., but 8 p.m. for the weeks after that), then my buddy Jimmy visits just in time for us to play The Beachcomber in Quincy again and the I Am Festival with Deerhoof in New London. We actually got a nice mention from the local paper, The Day.

This year, folk-rocker Tim Easton, who's played with former New London- and now Los Angeles-based band Quiet Life, is on the card, as are up-and-comers Free Energy and Cassavettes.

Finally, a dilemma: The band has a weird offer right now that could possibly fund our tour. But it would require selling out...again, possibly. My thought: Is it selling out if there is no profit for us personally? I mean, yes, it's generally selling out to give up intellectual property for any reimbursement -- but then isn't selling CDs sort of like selling out? Being somebody's swag dog doesn't interest me much, but if a small commitment, and doing something totally lame for a month, can bankroll our entire tour, save us from going way deeper in the red, and help us further our dreams (rather than our own bank accounts), should we do it? Or is it a deal with the devil either way? Ponder that one, my friends.

Bustin'

2009-08-24T11:17:00.000-07:00

Last update for awhile, since I'm heading way, way west for a bit. San Fran bound. Napa Valley. Vino.

Busy band weekend, with two shows just 16 hours or so apart. The first was at Joco's in Waltham, which may set a new record for smallest venue we've ever played. We cramped in the corner near the jukebox, drank Narragansett, and played two even-tempered sets. Some friends even made the drive out, to watch us play and to watch the Sox (or watch the Joco's patrons watch the Sox) get absolutely whomped. No big.
SET 1: There's a Reason / The Nadir / Debts / The Devil's Arms / Madeline / Carolyn, Don't Leave Like This / Research Blvd. / Like Secrets Beneath / Golden Fleece / St. Anthony / On Our Own / On the Lam / Seek Cover / Valley of Gold
SET 2: A Hard Rain / Ordinary Girls / Lights On / Don't Get Me Wrong / Trouble From the Start / Alex Chilton / Cinnamon Girl / Walk On / Cedar / Shotgun Wedding / I Come From the Water / Shine a Light

The next day we had an afternoon show at City Hall Plaza, as part of the expansive GreenFest. After a lot of initial confusion, we got loaded in, were served some Narragansetts (see a theme emerging here?), and then played a weird show in which all I or anyone else could apparently hear was drums. On the plus side, I had the foresight to bring a backup guitar on the hunch that my strings were on the verge of breaking, so there was minimal confusion during the guitar swap. Not that I heard the guitar anyway...

Two papers promoted it (with Cassavettes mentions, hence why they get mentioned back here!): The Herald and The Phoenix. Nice to get a mention among such elite company!

SET LIST: Ordinary Girls / Lights On / Madeline / Golden Fleece / Seek Cover / Cedar / Shotgun Wedding / I Come From the Water / Shine a Light

We hauled out after the set to get Matt to another gig, and Mike home for a moving truck. It was a day of chaffeuring for me. Either way, a good dinner made up for any negative feelings toward the show, and Ghostbusters topped the night. I can't remember even seeing that movie, even if I loved it as a kid. It was like almost a totally new experience. TD fell asleep and asked me if the Marshmellow Man was had returned to the water. After the grogginess subsided, it was clear she was confusing MM with the Statue of Liberty in Ghostbusters II. Final Ghostbusters note: the lyrics to the theme song? Really odd... a few choice lines: "I ain't afraid of no ghosts / I hear it likes the girls" -- what does he think ghosts DO exactly? Also, "If you've had a dose of a freaky ghost baby" and, my new favorite proclamation, "Lemme tell ya something: Bustin' makes me feel good!"

Finally, perhaps the crowning achievement of Run DMC's career is in the OTHER Ghostbusters theme song, with rapid-fire call-and-response:

[Run] Howling haunting
[DMC] Scaring screaming
[Run] Ghostly ghosts
[DMC] Ghouling demons!
[Run] Monsters spooks
[DMC] Werewolves and devils
[Run] All those things
[DMC] on the same level
[Run] Nightmares (bad dreams) cannot be beat
It takes a brave man (to stand in defeat)
Must be the bravest (yo, the bravest and most)
You must be able to say, "I ain't afarid of no ghosts"
[DMC] A good sense of humor, is important to have
When a ghost tries to scare you (ha, don't make me laugh)
They be dustin off ghosts, like true ghost-dusters
[both] Go, go, go, go, ghoooooosstbusters!

We ought to cover it.

A voice that fits the title

2009-08-18T12:27:00.000-07:00

It's been well-documented in this space that Andrew WK is the man. But why is he answering questions on fidelity and polygamy on Fox News?

I got a call this morning at 7 a.m. from a Washington, DC area code. I didn't answer. But knowing that my TV is broken, and Best Buy may be calling to confirm an appointment to fix it, I called back. A thick, gravelly voice greeted me: "Geek Squad." So, yes, Best Buy's Geek Squad was behind the early morning call. But the voice didn't match the words. How can you purport to be a member of the so-called Geek Squad when it sounds like you just took a phone break from a barfight?

In actual band matters, the CD was approved and actually sent to print today. Turns out, unfortunately, because of the way it was designed, we have to kick in some extra cash to get it to look the way we want on the CD face (using four colors instead of three). There was a slight hope of a work-around for this, but that would have taken a lot of TIME, which at this point, is more valuable to me than the relatively small amount of money we had to put up to get it right, the way we wanted it. I also explored the last second avenue of doing a digipak, but gosh darn, those are expensive! We'll be happy with this decision for good, I feel. Matt is in Maine for a few days, on a whim (I guess?), so practice is iffy this week. I'm feeling pretty good about the covers we did last week -- they sounded pretty good and I've been getting some nice feedback. But I'd like to work more covers into the rotation. Versatility is the name of the game.

Finally, TD just uploaded a slew of photos from the past few months to our computer, so a lot of undocumented band shows are, well, now documented. So I will try to go back in the archives this week and give it a touch-up.

Some similarities

2009-08-17T09:55:00.000-07:00

Fun show at the Atwoods Saturday. I like that place. Apparently, we got a bit too loud, but I thought all in all, it was pretty controlled. Sure, when Matt does a drum roll buildup in "Shine a Light" it hurts my ears, too, but that's his style, I guess. Speaking of, Alex and I watched an SNL episode from last year with Coldplay on it (we also watched "Tim and Eric" together for the second time, and I have completely reverted to my view that the show is only funny occasionally -- but way too stupid-humor-based to enjoy consistently). That Coldplay drummer is akin to Matt in more than one way. He hits as hard as he possibly can. He's flamboyant whilst hitting. And they have similar cranium accessories.

Anyhow, yeah, so the show was pretty good. Decent crowd for a last-minute fill-in slot, and we were having a lot of fun up there. Much joking. After party was cool. All in all, good night. Makes me miss Toad -- but that's coming up so soon. But FIRST, we play Joco's in Waltham (a very similar set up to Atwoods, I hear) this Friday and then Boston's GreenFest at City Hall on Saturday. We play at 4:45 in the afternoon, so make a day of it. Bring your pic-a-nic basket.
SET LIST (from memory) 1: A Hard Rain / Research Blvd / Carolyn, Don't Leave Like This / Madeline / The Nadir / Debts / Golden Fleece / Someday Darling / There's a Reason / Six Hours / St. Anthony / On the Lam / Whitewashed / Empire Central / On Our Own / Trouble From the Start / Seek Cover / The Devil's Arms / Valley of Gold

SET 2: Ordinary Girls / Lights On / Alex Chilton / Marie / Cinnamon Girl / Cedar / I Come From the Water / Shotgun Wedding / Shine a Light

Onstage, I started talking about how strange of a moment Steven Tyler's now infamous fall came at. He's in the middle of like a strange little jig (yes, I realize that it's like his THING to do this dance, but it only compounds the awkwardness of the fall; and yes, I know it's likely bad karma to point out one's misfortune onstage, especially when we move around as much as we do). Anyhow, I had nearly forgotten about that conversation with the audience when I came upon this aptly-titled post on boston.com: "Dude looks like a (little old) lady."
I'm speechless.

Furthermore, on a final (uplifting) note, My Morning Jacket frontman Jim James apparently made a George Harrison tribute album. The newsworthiness to me comes in the fact that he released the album under the name Yim Yames. Does anyone recall the SNL skit with Steve Forbes as Teve Torbes? Just saying...

More or less (or Les)

2009-08-14T09:46:00.000-07:00

So, I sat in with the Three Day Threshold guys last night at Atwoods, thoroughly ruining their set with bad guitar solos and an uninvited rendition of Morphine's "French Fries with Pepper." During said song, I did one verse, one chorus, and promptly walked offstage (and then out of the club) Van Morrisson/giant asshole style to a surprisingly large amount of confused applause. Actually, we did two Morphine songs, a few Three Day tunes, and some others. Hilariously, their drummer told me, "We should hire you, man." Nice guy just being nice. Either way, we're playing the Atwoods on Saturday night if anyone wants to come out. Should be pretty wild.

It feels like time is flying by at an unheard of rate lately. AJ and Rachel are leaving soon -- how did that creep up so fast? The record is almost done, save for a few small design elements. We're halfway through August! The tour is filling in even more (just added Lexington, Ky., and The Oasis in New London, Ct., to our plans -- speaking of the Oasis, we're doing the I Am Festival in New London next month). It looks like the next 7-8 weeks are going to be constant activity, personally and professionally. There's a lot going on. Not too much, but close.

Finally, a sad note: I will say that the news that hits the hardest lately is Les Paul's passing. Nothing against Michael Jackson, but I would argue that this is a more significant musical passing. The guy basically invented multi-track recording! And his name is synonymous with perhaps the most famous (or at least second most recognizable to the Stratocaster) guitar ever! As the Globe obit notes, "'I’m so identified with the Les Paul electrics that sometimes a kid’ll come up and say, "Hey, you’re a real person, not a guitar."' Mr. Paul wrote in 1981." And too top it all off, he's a musician in his own right. An unbelievably wide-spanning career that, for my money, touched more musicians in more ways than pretty much anyone else ever has. Music is lucky to have had him.

A couple spare thoughts

2009-08-11T20:56:00.000-07:00

Not to detract from today's more important, relevant post, but I just came across yet another peculiar YouTube video. This one is of a young man covering our old friend and producer Todd Thibaud. I think it is a new measurement of success when you have someone cover you on YouTube. Maybe it doesn't signal that you've made it...but then again, maybe it does? See where I went with that?

Anyhow, as long as I have the floor, I will post this story from The Boston Globe that I meant to post last week when it happened. It's our manager Creamer's big break -- his baby -- and it shows you just WHAT this dude does all the time. And it's a damn fine story to boot. He has been working on this Woody Guthrie archives project for quite some time now, and he deserves the recognition that comes with his work.

With all of the key players now deceased, Creamer came to manage the resuscitation of the Guthrie recordings in much the same way he manages the careers of rock musicians on his client roster. He helped Sutera create an inventory of the metal masters, and with her blessing began to put together an informal team to decipher the content, ownership, and value of the Stinson collection. Jonathan Horn, an attorney with extensive knowledge of the folk world, introduced him to Nora Guthrie, who runs the Woody Guthrie Foundation and Archives in New York, and Matt Barton, a Cambridge native who was retained to research the company’s history. (Barton is now curator of recorded sound at the Library of Congress.)

Hey, that's us (in a roundabout way)! We're rock musicians under his stewardship. Anyhow, Creamer's involvement in such a historic project makes me wonder if he's going to start hanging out with Dylan, Springsteen, and Tweedy. Maybe they'll all want to hang with the Dreamer now that he's got a stake in something they covet so. But I'm sure they've got managers to handle that for them.

Old news is still good news

2009-08-11T10:23:00.000-07:00

You thought we were done talking about the Provincetown Rocks Festival, eh? Well, we are. But Playground Boston isn't! And we are the beneficiaries of a very kind write-up about our final set at the music festival...

If you watch television, read music mags or go to concerts, there’s a fighting chance that you’ve seen or heard the Cassavettes somewhere down the line. Originally from Texas, the band was quickly appropriated as a full-fledged Boston band after forming in 2005. In ’06 alone, they were voted the Best Local Band in the Phoenix readers’ poll, their album It’s Gonna Change was picked as a CD of the Week in the Boston Globe, and they were nominated for Outstanding Americana Act of the Year in the Boston Music Awards. In January ’07, they performed on the Fox 25 morning news, and the long list of acts they’ve shared bills with includes Kings of Leon, Superdrag, Letters to Cleo, the Toadies, Dr. Dog and (not even kidding) the Allman Brothers Band.

With a balanced assortment of songs from their three albums (plus a brand new LP that the band plans to release later this year), the Cassavettes’ earnest but lighthearted set was a stark (and perhaps necessary) contrast to the emotional performance that followed with the New Frustrations. They ran the gamut from indie pop stompers to rockabilly shuffles that highlighted the bands’ southern roots, and the steady hands and feet of drummer Matt Snow allowed those changes of scenery to occur without the need for a cross country flight. Guitarists Mike McCullagh and Glenn Yoder traded lead vocal duties as they spun their twangy tales of TV static in empty houses and vain attempts at auto theft. The songs of the ‘Vettes have their share of angst and melancholy (after all, does not every cowboy sing a sad, sad song?), but the rowdy rhythms and backup hollers of Snow and bassist Scott Jones confined all blues to the fret boards.

Like I said, quite kind. They also go on to detail the set of our friends The Neighborhoods, which we regrettably missed. However, we have another chance to see them when we share the stage at Boston GreenFest at City Hall on August 22. But plenty will happen before that!

We have ALMOST reached the end of the line for this CD. The artwork is close to done (hey, why not, a peek at the cover? see below) and the rest is falling into place. The final master is being sent to the pressing plant. As of today, I settled up all outstanding tabs, which leaves us to only pay for the pressing of the album.

Will it be done in time for Toad Tuesdays in September? One can only hope. Will it be done for our fall tour? Yes, it will. And that tour, by the way, is coming together nicely with confirmed shows in Knoxville, Philly, DC, and NYC over the weekend. Hopefully today we'll nail down Nashville. Then we can rest a bit, because the rest of the dates on the tour will either come together organically (someone will finally notice my email and write me back), or we will have a few days off. I'm considering taking another band sabbatical in Virginia Beach. We'll be around the area, and it makes sense. I'm just trying to get a show nearby to justify it.

This Saturday, August 15, we're out at the Atwoods doing a somewhat impromptu night-long set at 10 p.m. So come out. After all, it's free!

Like a hurricane

2009-08-08T13:15:00.000-07:00

So, I've been watching Neil Young videos for the past hour or so and I tripped across something quite peculiar. Adam Sandler doing a SERIOUS cover of Neil? And it's not too bad -- except I expect him to do that "dippy" voice at any time. He only gets close at the end when he starts yelling "blown away" -- sounds like "give me a damn snack pack!"

Also, has Radiohead covered every Neil Young song every released? It's actually a good fit voice-wise. Never realized before. Finally, check out Neil's duet with Paul McCartney on "A Day in the Life." Both look wild. And Paul appears not to know what to do with himself.

Anyhow, the band -- our band -- played a pretty fun show the other night out at the Lizard Lounge. Actually, it was really fun, just a wee bit disappointing in the amount of folks who showed up. But Sir Paul was in town, and Blink-182, and how do you compete with that?

All in all, I'm looking forward to hitting the road next month with those Tenderhooks. Seems to be a good time in store.
SET LIST: A Hard Rain / Ordinary Girls / Lights On / Research Blvd / Carolyn, Don't Leave Like This / Madeline / There's a Reason / Golden Fleece / On Lam / Whitewashed / Seek Cover / Cedar / I Come From the Water / Shotgun Wedding / Shine a Light

Beyond that show, things have been crazed, trying to get ready for the album's release and the tour. Real crazy.

Lazy days of summer

2009-08-03T07:59:00.000-07:00

They are making us lazy. Or crazy.

We need to practice real bad before our Lizard Lounge show on Thursday, and luckily, tonight's looking pretty good. Reason being: Not only were we a bit flimsy in P-town (not sure if that was us, the atmosphere, or a combination), but the Lizard Lounge requires the soft touch we brought to Toad, so we need to regain that. I have yet to play a show at the Lizard Lounge (Cassavettes or solo) where I feel it's been played properly to the room. So, I'd like to stretch out a bit, and play a comfortable, reasonable show. Reasonable rock and roll, a new genre to be added to Dad Rock.

Speaking of the Lizard, JustBill.net is giving it a little shout-out, with a photo of Mike really rocking (long hair, too).

I posted some new tracks from "Shake Down the Sun" yesterday on Myspace and Sonicbids (side note: I tried to add to Facebook, but apparently, in order to validate that you own the songs, Facebook makes you upload a JPG of your driver's license or birth certificate? Yeah right! They claim they won't sell it, but then again, they sell everything -- how else to explain the tailor-made ads on the site? That place is getting creepier by the day). Check them out when you get a moment. I am still awaiting the Rev. Todd Thibaud's final word on the master, but it's looking good. Also, I got the first design today, which I have high hopes for. I like it, but I shan't share it until it's complete (hopefully we can ship it to the printers by week's end, but that's going to be a true race). Either way, here are some record covers I said to use as inspiration...

Neil Young, "Harvest": My absolute favorite album cover. So simple, elegant, and beautiful. Also happens to be one of my favorite records.

The Byrds, "Sweetheart of the Rodeo": Has a velvety, "you can touch it" look

Willie Nelson, "Naked Willie": Back to the simplicity of "Harvest" (sort of) and also gets in a pseudo cowboy theme, which I always like

Grateful Dead, "American Beauty": Has the wood grain like our first EP and the text is a little goofy (and Ryan Adams copped the rose for "Cold Roses"), but all in all, kind of suits the look we're going for of simple and intriguing

Tom Waits, "Real Gone": Again, getting away from the 60s thing, but very simple, textured, and cool

Neil Young, "Homegrown": A little ornate for my taste, and not as captivating as the simplicity of "Harvest," but still has a very textured look that I like.

Back to business... We got added to Boston GreenFest at City Hall on August 20. Some familiar faces on that roster, and apparently a decent headliner possibly lined up. Also, we lined up a date at the Middle East Downstairs for what is probably a big CD release show. The CD will be "out" in September (at the Toad residency and on tour), but the "release" won't be until November. Yeah, at that point the record will have been out for like six weeks, but I look at it kind of like a restaurant opening. You have the opening, and it's quiet and gets a few reviews, then you have the GRAND OPENING and all hell breaks loose for one big day. Makes sense, right?

I'm making true progress in getting set up for some home recording for the first time since I was in my parents' house. Nothing fancy...actually its anti-fancy, I want it as easy and un-technical as possible. But anyway, I plan to just record demos for the band to learn new material outside of practice and depending on how adept I get at using the equipment (most of which I astonishingly already owned), maybe some real tracks. We'll see how that goes along.

Runners-up

2009-08-01T09:09:00.000-07:00

I THINK this was posted today, but I could be way behind. Either way, we finished as second runner-up in the Boston Phoenix's Best Music Poll Roots category, behind our old friends Girls Guns & Glory and Movers & Shakers (and somehow ahead of the greatness of Dennis Brennan and Session Americana?). Congrats, fellas.

For one thing, I find that placement surprising because we didn't promote this to fans hardly at all. And not even I voted. Ha! Thanks to those of you who did. Don't take my "whatever" attitude as a lack of graciousness, it's just that we weren't quite sure what to do with this nomination...

Last night, we went to the BMP pre-party at the Middle East Downstairs, and I bumped into FNX DJ Dave Virr. I asked him if he has something to do with the nominations, and he nodded vigorously. Standing next to my buddy Emeen (of The Sterns fame, but more recently his own excellent Emeen Z Band), I said, "Then, what's the deal with the snub for my man Emeen?" He said, "he didn't put anything out this year." Neither did we, I thought, unless you count "Animal Friends." And, as Scott said, was that a "roots" album? Not to sound ungrateful, just a tidbit of our conversation.

I think it's pretty funny that we still have the Roots tag. At least it's not Country or something more severe-sounding.

Anyway, I had to pull out of a Brooklyn show with Quixote and Yoni Gordon in a couple weeks. I didn't realize it was a Tuesday night, and it wouldn't be worth the work I'd miss to do a Tuesday show for probably no one in NYC. So, instead, I hooked them up with a local guy we know, and -- voila! -- everyone wins.

Also, scroll down to my last post if you have a second and check out the photos from P-town by Playground Boston. Pretty cool! We were supposed to do an album photo shoot today with Aram but Matt couldn't get anyone to cover him at work. Lame. I don't think we'll have another time when we CAN shoot this photo for the album, also used as a new press photo, considering I am going to get some artwork by early this week (I guess?) and then submit to the band for changes/approval. By this time next weekend, I'm hoping to have the record sent to get pressed.

Meeting expectations

2009-07-29T09:26:00.000-07:00

I started to write a blog on Monday about the Provincetown Rocks festival. Right as I neared completion, the Boston Herald wanted to talk about it. So I sent them some thoughts. And it became an article, a bit sunnier than the one they ran a couple weeks back:

Glenn Yoder of Cassavettes said he experienced “the best (or something close to it) and worst (or something close to it) of what this festival had to offer.” Cassavettes’ Friday night show at Good Times was rough, but the show the next night at the Vixen made up for it.
“It was sort of scatter shot - we expected that, too,” Yoder wrote. “It was a first try at something like this in P-town and, if it happens again, I’m sure there will be a different approach and different pricing, etc. But no use in trashing it - it was an honest try at something new, and you can’t fault anyone for that.”

Here is the full text of the thoughts I shared with Michael, in a more concise form of the blog, which follows.

I think we saw the best (or something close to it) and worst (or something close to it) of what this festival had to offer. We had a great set Saturday night at The Vixen that made up for one of the worst shows I can ever recall being a part of Friday at Good Times. But while we had a bad time at Good Times (major paradox there), my guess is that the Bon Savants had a worse time. After all, while the amp the festival provided crapped out on me mid-song and I finished the set through a dull keyboard amp, the Bon Savants lost power altogether mid-song. They covered it well enough, but there's not much you can do in that situation. Either way, they killed it -- it was an awesome show once the power came back (the alleged culprit was a cell phone charger in a jack not permitted for patron's use, according to the club's owner). And the Bon Savants guys were chilled out about the whole episode. I really mean it when I say they covered with as much humor and poise as one can when all the power goes off...and a dude shouting at everyone in sight about a cell phone charger causing it all. We were saying that the whole night seemed to be held together by duct tape and little else -- and maybe the whole festival seemed that way at times, since word was that the clubs weren't exactly receptive to the bands and the audiences were pretty small everywhere we went to see shows. We didn't encounter anything super crazy, though. Our expectations were sort of met: We expected to have a good time out on The Cape, hang out with some cool folks like The Shills and Sidewalk Driver, and play a few fun shows. Check, check, and check. If nothing else, it's a beach vacation. What's there to complain about? So, yeah, it was sort of scatter shot -- we expected that, too. It was a first try at something like this in P-town (to my knowledge) and, if it happens again, I'm sure there will be a different approach and different pricing, etc. But no use in trashing it -- it was an honest try at something new, and you can't fault anyone for that.

I will say that there was nothing about this festival that scared me off doing it again, presuming Martin tempers his expectations by making it a much more affordable, viable option for locals (it's not going to draw a huge crowd from Boston, just to see locals in a different environment). After all, the thing is, P-town doesn't NEED this festival. They are a bucolic Cape town in the middle of summer! These "clubs" (if you can call them that) don't NEED bands to draw in people -- they already have regulars (which they were pissed that the bands were scaring away with high door prices/loud music). So, if Martin wants to bring music to P-town, that's all well and good. But he has to do it by fitting into the flow of the town, rather than trying to CHANGE the flow for a weekend. You know what I mean?

Anyway, back to the blog I was GOING to write...

The Provincetown festival this weekend was about what we expected. OK, it was worse than expected, but just a little. The shows went like this, in this order: so-so, awful, pretty good. So at least we ended on a high (or higher) note. But when everything wasn't falling apart at the seams, it was being held together by duct tape and little else (metaphorically, and in some cases, literally). Beyond the clubs putting up a stink about even having music going on, and the town's seeming disinterest (and lack of need) in the festival at all, the prices were too high to interest anyone into stopping by. And the backline equipment was on the verge of explosion -- as the Bon Savants lost all power mid-song following our set (when my amp crapped out entirely, and I had to play a five-string guitar through a keyboard amp -- hey, maybe it was in the spirit of famous low-stringers Presidents of the United States of America). So, yeah, there were a bit more than technical difficulties. But add the entire weekend up, and you've got a good time. Lots of cool people, some nice weather, and six friends squashed in a surprisingly spacious hotel room. It was a good time.

The first night I played solo at Old Colony. It was a cool nautical-themed bar with low ceilings, and a completely disinterested crowd. I never got comfortable, rushed it, and generally regretted it. But whatever, it was the first night and there were five people there.
SET LIST (from memory): Til the Wheels Fall Off / Broken Beaten & Blue / Golden Fleece / Light Under the Door / A Thousand Ways / There's a Reason / Comes a Time / You Led Me Into Your Love

The next night, the band met up with Mike after a cold, wet day at the beach in Wellfleet (next to the Beachcomber). We did have a sweet race up the dunes until a stoned lifeguard told us to quit it. Nevertheless, we made the most of the gray day. That night, we played Good Times, easily the crappiest spot we saw in P-town, with low ceilings and no decorations beyond a few beer signs on the dry wall -- like someone's idea of a "man cave." The owner was a lunatic who went berserk at me, when I was an innocent bystander to two minor altercations (someone plugging a cellphone charger into an unauthorized jack, and someone spilling a Narragansett behind a guitar amp -- I used a keyboard amp and didn't drink Narragansett anyway). And of course, there were the aforementioned technical difficulties. I did, however, buy a new leather jacket (when in Rome) and have an awesome dinner, so it wasn't a totally wasted night.
SET LIST (from memory): Ordinary Girls / Lights On / Don't Get Me Wrong / Golden Fleece / There's a Reason / Shine a Light

The final day, we checked out of the hotel and headed back to Wellfleet for some actual fun in the sun. Creamer took us to a nice beach (one of the top 20 in the world, he said, though I disagree -- not to sound ungrateful), where we joined the Family Creamer. Matt fit in quite naturally, with his red locks and swear words (that's just with Creamer himself, though, not the wife and kids). Creamer actually looked overjoyed when Matt tossed him around in the waves. We then got a sweet lunch in town and met up at the Creamer's cabin. Quite quaint. For the show, my main objective of the evening (seeing The Neighborhoods) didn't happen, since everything was running behind schedule. We also missed Sidewalk Driver's set. But we did, at the very least, play a pretty good show, which was a major relief, after two subpar performances in a row (dating back to July 4 in Vermont).
SET LIST: Ordinary Girls / Lights On / Madeline / Don't Get Me Wrong / Golden Fleece / On the Lam / Seek Cover / Shine a Light

For those keeping score, yes, every set was cut short. But the whole thing was running behind schedule. At times, I was surprised it was even happening at all. But it was what it was, and it's a memory now. Like I said, I'd do it again, presuming changes are made to accommodate the locals. If there's a lesson to be learned, it's that you aren't going to change the culture of Provincetown, Mass., even for one weekend!

UPDATE: Photos just posted at Playground Boston by Pete Legassey. Check them out, you'll have to go toward the middle of this pack. I'm hoping you agree with me that Mike's beard so, so siqq.

On the record front, I'm PRETTY sure the latest master is going to be approved. It has been sent as the "promotional copy" for Creamer to work his magic, and has a cool label. It appears likely that "Shotgun Wedding" will indeed be on the record, unless Todd makes one final push for "Glory Son." Also, more shows are coming together for the fall tour, thanks to the Tenderhooks. Those boys get stuff done!

Anyhow, tomorrow night, I'm playing at McGann's in the Back Bay as a sidekick for my buddy Tod Shaffer (he of Barn fame). Come check it if you got some time.

P-town bound

2009-07-22T08:41:00.000-07:00

So, the rumors are true. Scott lost his passport bungee-jumping in New Zealand (it's part of his new "world-traveler" image), but he is back in America, and back in Boston tonight. Just in time for the Provincetown festival this weekend.

After a host of problems on our end (not necessarily the festival problems I detailed here, but lodging falling through), I finally booked a place in P-town today. So we should be set, which is a huge relief. Actually, a number of things are dovetailing right now in a satisfactory turn...
- The fall tour is picking up steam, as we figure out what route would be best. Already a few hard to book southern spots are coming together.
- We have the Toad residency again in September, which can serve as a pre-CD release-CD release. Meaning, we can wait on the big show, but still let our friends buy up the tunes (and have a CD out in time for the fall tour). I have holds at a couple bigger venues for later in the fall, and we are still awaiting word on a couple shows in October.
- I am in serious talks with two designers on the CD artwork, so hopefully I'll get a draft of their ideas next week.
- We should be getting the second master in the mail today. Unfortunately, Todd takes an extended sabbatical to Canada for some fishing, so we will have to wait to stamp our approval until he returns Monday. There may be a substitution of "Glory Son" for "Shotgun Wedding." We shall see how everyone responds.

Finally, my old acoustic guitar finally got a pick-up added. Good. Because I'll need it in Provincetown tomorrow. I'll update after a whale of a weekend.

Beach vacation

2009-07-14T08:53:00.000-07:00

All I've been working on lately is the proper way to roll out this record -- tour, release show, etc. But CD release plans be damned, let's talk about the immediate future!

A lot of folks have taken notice to our participation in the Provincetown Rocks Festival at the end of this month, and the fact that it may be going down the toilet fast. We've been slated to do this thing for over a year, as Martin, who is putting it together, came to me very early in the game asking about it. Why not? We have nothing else going on in Provincetown. I mean, even if this thing is a disaster, and it might be, we'll probably still have fun. And play a show...maybe. Though we're scheduled to do three. I see it as low risk, potentially decent reward (a good time at the beach, no harm done). Anyhow, he shocked everyone by announcing Presidents of the United States would be headlining every night, then went through promoting it, then abruptly, they were gone. We always wondered if the PUSA thing was legit. We'll never know the full story, but hey, the intrepid reporting of The Herald's Michael Marotta brings us the tale from both Martin and PUSA:

But last month the Presidents got the boot. According to a posting Doyle left on a local message board, he wanted to streamline the festival and make it more locally focused.

"I axed the Presidents because I didn't get the sponsorships I needed," Doyle said in a phone conversation yesterday. "I had to make a decision, and in this economy I couldn't charge $75 a ticket."

The Presidents, however, are still waiting for an explanation.

"He's been unresponsive to us," said David Meinert, the Presidents' manager. "All we know is that he canceled the Presidents' show June 11 out of the blue, but kept the band in the ads for several weeks following, which we are definitely disturbed about."

And while that may be some seedy doings there, it doesn't shake me up too much. There's a good mention of us, which is always nice, though it's in the wake of other bands losing faith (and with just cause)...

The festival still boasts a meaty lineup with Cassavettes, the Neighborhoods, Magic Magic, Logan 5 and the Runners, the New Alibis, Muck and the Mires, Lovewhip, Blood Stained Brindle, Midatlantic, Aloud, the Crushing Low, the Bon Savants and many more.

Several bands reached for this story declined to speak on the record about the festival, but sources said there have been disputes about band payouts, hotel accommodations and logistics.

Because we know Martin fairly well, and Creamer has a long history with him, I will tell you what I know, or rather, what I expect. We have re-confirmed with him this week, since our set times/locations/dates have consistently shape-shifted over the past couple months. Our sticking point is that we want to play with The Neighborhoods, which they have reiterated to Martin as well, so I fully expect that to happen otherwise I WILL be mad. And our guarantee is still intact. All of this is in writing, just in case, which still may not be totally reassuring, but again, it's low-risk. The thing could always turn out just fine, and I'll say one thing to that point: we had the lowest of expectations at the April preview of this festival in Provincetown, and we all remember how that turned out, right? It shows that all this concern may be needless. Or, whatever, beach vacation.

Radio nowhere

2009-07-12T08:32:00.000-07:00

Cassavettes on Facebook

Is there anybody alive out there?!

Sonic boom

2009-07-10T10:51:00.000-07:00

We take a break from this...break...to update you on some stuff. That's what a blog is for, I guess. Well, though I recently proclaimed this to be quiet time with Scott gone, it's not. I have been active over the past couple days, with plenty to do on the band front. A quick rundown:

1) Book a two-week or so tour for the last part of September. This hopefully can coincide with Dewey Beach Americana Fest (checking on that, presuming they have it) or Music Conference. We are scheduled at the Midpoint Music Festival in Cincinnati, so I just have to work around those dates for now. Some friends from a Knoxville band may link up with us and we'll do the southern circuit together (Knoxville, Nashville, maybe Kentucky, Carolina, even Georgia). Then I'll put together a show or two in New York/Philly, etc.
2) After that tour, we are planning to release this CD, "Shake Down the Sun." Where? I don't know yet, though I have made preliminary in-roads. Problem is, I don't want to play the release party BEFORE the tour (since it'll tighten us up real nice) and after the tour, we have a couple decent offers on the table in October -- one a possible big-time opening slot for a national. Would we postpone further? I'm not sure, but a CD release would require blacking out a month of dates on either side, so it complicates things even more... Working on that next week.
3) Before any of that can happen, we have to put "Shake Down the Sun" to bed. We are in stage 2 of mastering, in which we work out a few kinks with time between songs, matching loudness/softness of tracks, and fixing a couple small crackling issues. Problem is, this is done from afar now, with no follow-up in Fall River. He'll mail us our second reference, then we sign off on it (hopefully, otherwise this gets dragged out longer), then we manufacture white-faced CDs as promo copies for Creamer's cronies (who he says are champing at the bit for some tracks) and radio, etc. See? It's a process. Also, while that's happening, we have to start the artwork for this record, which isn't a huge rush, as it only takes a few weeks to print the initial run of 1,000 CDs that we'd order for the CD release show. And who knows when that will be? Remember?

Anyhow, lots to do. Next week will be a busy one for me.

On another note, I often wonder how the two paths I've chosen (music and journalism) seem to mirror each other so closely, particularly in relation to how both are adapting to new technological challenges. I know that every industry has had to re-think their business model, but music and journalism are in very, very similar struggles. To wit, take Malcolm Gladwell's latest New Yorker piece, "Priced to sell: Is free the future?":

The digital age, (author Chris) Anderson argues, is exerting an inexorable downward pressure on the prices of all things “made of ideas.” Anderson does not consider this a passing trend. Rather, he seems to think of it as an iron law: “In the digital realm you can try to keep Free at bay with laws and locks, but eventually the force of economic gravity will win.” To musicians who believe that their music is being pirated, Anderson is blunt. They should stop complaining, and capitalize on the added exposure that piracy provides by making money through touring, merchandise sales, and “yes, the sale of some of [their] music to people who still want CDs or prefer to buy their music online.” To the Dallas Morning News, he would say the same thing. Newspapers need to accept that content is never again going to be worth what they want it to be worth, and reinvent their business.

Speaking of which, I'm considering rolling out a new idea for the remainder of 2009: $5 merch box. Everything in the merch box is priced to sell at $5 -- not exactly free, but not far from it. This means the new CD would roll out to the tune of $5 (pun INTENDED), as well as copies of "Whitewash the Blues," "It's Gonna Change," and "Okono Road." Shirts, which cost a bit more than $8 to manufacture (sometimes over $10 depending on graphics/brand), we would essentially be losing money on. But isn't the advertising worth that much? And to move some more merch, I think it's a worthwhile pursuit. Plus, it comes with a catchy theme song: "Five, five dollar, five dollar merchboxxxxxx."

Finally, on a completely unrelated ending note, one tale from our dear Denton, Texas. Sounds about right.

Quiet time

2009-07-07T12:11:00.000-07:00

Two years ago this day, we were playing the Middle East Downstairs for the first time -- headlining our two-year anniversary. It was an OK show. One year ago on Sunday, July 5, we were playing our three-year anniversary show at The Paradise Rock Club. The show was iffy at best. This year, we bypassed the show for a few reasons, instead opting to plan a big CD release for September (working on that soon, I promise) and a REALLY big five-year anniversary next year. Instead, we spent our four-year anniversary weekend (and Fourth of July) in Stockbridge, Vt., playing the Tweed River Festival with some bands I'd call heroes of ours. From Tim Gearan to our old friend Jabe to my main man Jeremy Moses Curtis (and Bow Thayer), this weekend was something it was hard to believe we were a part of.

That doesn't mean in was a dream all the time. It rained pretty frequently, making it chilly and tough to get into the swing of things. Also, our set was subpar at best, thanks to some bad luck and malfunctioning instruments. We did our best to push through, and apparently, according to a letter from Jeremy, we still made a good impression. Actually, most people were fairly kind (and no one was rude). A man said his wife wrote down our name because were "definitely worth remembering." The lead singer of Sticky repeatedly told us we made him cry. Not sure if that's a good thing or bad thing. Either way, it was a weekend definitely worth remembering, with some swimming in the COLD Tweed River and a lucky bail-out by Joe, who thought to bring a tarp.

SET LIST: Ordinary Girls / Lights On / Don't Get Me Wrong / Golden Fleece / Someday Darling / On the Lam / Seek Cover / Cedar / Shotgun Wedding / Shine a Light

Now, we're decompressing, I suppose. Scott is gone for three weeks, exploring the other side of the world. I'm settling into a new house and hoping for some good weather to justify getting a beach house. It's all quiet -- and that's good, because I think a break was necessary. Life has been too crazy lately. Now, it's time to just unwind a bit and come back full force. See you soon.

Vermont-bound

2009-07-03T10:15:00.001-07:00

I hate whenever Nick Cassavetes makes a new movie (My Sister's Keeper?) because then his name dominates Google searches whenever I'm searching for us. Alas, the Burlington Free Press briefly mentioned our big camping gig this weekend. Should be fun.

I'll update when all is said and done.

Where toads come from

2009-07-01T09:08:00.001-07:00

"The Toad needs to be rocked like this once in a while."

That's a direct quote from a local who had wandered by to see The Moving Co. last night, but instead found us. See, the Moving Co. unfortunately had an issue that caused them to cancel their set while we were on-stage, finishing our set (we were just hitting the homestretch). All of a sudden, we had another two hours to fill. But we also had a line out the door all night, a bunch of crazy dancers, and a LOUD, rowdy crowd. So, we rocked, as the local put it, with pretty much every song we had.

Before we knew we would be filling an entire night with music, we had already decided to forego a set break and keep the party moving -- doing two hours straight. In retrospect, it's a bad idea, but hey, we didn't know at the time! Nonetheless, Ward and Sarah filled in with some nice harmonies (and some casual [read: bad] jamming from Scott, Mike, and myself) and that ate up some time. Then we came back and gave what we could. I made a point not to duplicate any songs, even though Creamer told us to, but you know something? Toad's bartender, Jeremy, is about the coolest guy we know and we do what HE says. He wanted to hear "Lights On" again, and so for the encore, that's exactly what we did.

One final note about the penultimate Toad Tuesday: Chris almost knocked my front teeth out about 50 times last night. Apparently, ripping open Scott and I's shirts (mine WASN'T a button-up) wasn't enough to satiate his party vibe, so he decided to pick up the microphone stand a lot, move it around so I had to follow it to sing, and push it into my face repeatedly. If I didn't love that guy, I would have thrown him a beating. Or just scolded him.

This set list is totally from memory, but at least I will hopefully get all the songs out there...
SET 1: Ordinary Girls / Carolyn, Don't Leave Like This / Madeline / Research Blvd / Don't Get Me Wrong / There's a Reason / Whitewashed / The Nadir / Debts / On Our Own / Someday Darling / Golden Fleece / Six Hours / St. Anthony / The Devil's Arms / A Hard Rain / Lights On / Empire Central / Valley of Gold / Seek Cover / Like Secrets Beneath / On the Lam / Cedar / Shine a Light

SET 2: Bad Television / Marie / You'll Be Crying Soon / Seasons / Trouble From the Start / Cinnamon Girl / Walk On / I Come From the Water / Glory Son / Alex Chilton / It's Gonna Be Alright / Lightning in a Bottle / Ambivalent Farewells / Shotgun Wedding / Lights On (encore)

Oh yeah photos of the show...from Fritz's mobile device...

Take 3

2009-06-24T06:39:00.001-07:00

These Toad Tuesdays just keep getting better. The crowd is improving, the band is improving... In fact, believe it or not, there are some aspects of playing at Toad that I flat-out prefer to club shows. It's relaxed, allowing us to get in the groove a bit more. We can play a bit more diverse material at Toad. And more and more, we're learning to rock at an appropriate volume. Rock volume. All good things.

A few co-workers showed up last night, which was cool. It's funny, though, because I had an awful day at work (and in general) yesterday prior to Toad. Then, a babbling maniac on the street told me "You don't know what real pain is." And that was that. Still, cool that my co-workers came.

We did one long set, because we started late (Matt may have left his kick pedal in Falmouth). Whatever, though. It worked out.
SET LIST (from memory): Ordinary Girls / Carolyn, Don't Leave Like This / Madeline / The Nadir / Whitewashed / St. Anthony / There's a Reason / Research Blvd / Debts / Golden Fleece / Valley of Gold / Cedar / A Hard Rain / Lights On / Don't Get Me Wrong / Trouble From the Start / On the Lam / Seek Cover / Shine a Light

Anyone got photos? I've fallen behind in my photo postings...

Close calls

2009-06-22T10:50:00.000-07:00

Holy smokes: We're one week away from putting the audio portion of this record officially in the can -- that is, barring some unforeseen mishap. Mastering starts today, and we sit down to listen to it next Monday in Fall River. It feels good to get here, even if a little surreal, since it took so long to get to this stage. I've felt mutually unrushed and harried about this process. What I do feel good about is the record itself, which by the way, is called "Shake Down the Sun." I think it's a big step forward for us, and something we will hopefully be proud of for the rest of our lives. It's a true document of the band's progress -- whether we can parlay that into big-time success or not is the big question that follows. I guess we'll see when this thing hits the streets in September.

We're planning a fall tour. I have to get on that. Dang.

We played the Cape on Friday -- a little bar in Falmouth called Grumpie's. I had high hopes, and I wasn't super disappointed even if it was mostly empty. There were some cool locals there, we played pool, and we got an extreme 3-hour set under our belt. I'm pretty sure we played every available song, including some Neil Young covers and serious vault stuff. No set list, though, sorry.

I've been listening to an absurd amount of Neil Young lately, which is par for the course, I suppose. But absurd even by my standards. Hell, I even cracked open "Chrome Dreams II" again, before giving up after "Dirty Old Man." I don't know if this recent Neilgasm was spawned by watching "Don't Be Denied" on PBS -- a particularly unthrilling Neil documentary. The one highlight is an early TV clip of Buffalo Springfield where Neil is bouncing around all young and jovial -- quite out of character. Anyhow, what is evident, and made abundantly clear by the program, is that Neil follows the muse at any cost. I know that you have to respect a man of principle, but the whole thing makes me wonder: How can someone like that be happy? I mean, if I often feel like my work is inadequate for my ambition (which spurs me to always write more, try to improve), how can someone who is always working on their next project ever sit back and enjoy success? Not to say I'm on the same plane, or even a nearby one, as Neil. Just saying.

Another thought about Neil: Listening to the depth of his work, especially live recordings, he seems to rip himself off from time to time (which isn't particularly shocking when you've made that many albums)? You can't deny the similarity between "This Old Guitar" and "Harvest Moon" as far as guitar licks go. Anyhow, all of which makes me wonder if a performer is given as much artistic license as Neil is, can he essentially use the same song structure for multiple songs? People always like alternate versions, but it usually has some major similarity -- same chorus, verse lyrics, etc. Just something a little extra. Well, I often write 2-3 drafts of different songs which vary greatly. For example, a song called "Green & White" on my solo disc actually started as a more Dylan-esque tune called "Old Town." It's not an alternate version, it's a totally different song. But too close to use and get away with. Maybe one day I'll just put out the other version of these songs, at least the ones I like enough, and say to hell with those who characterize it as a lack of creativity. Because actually those drafts are the heart of creativity, I'd say. Every good writer knows that a masterpiece is shaped by great editing. Again, just rambling...

Toad tomorrow...

Might as well post a track list for the new record:
CASSAVETTES - SHAKE DOWN THE SUN
1. Ordinary Girls
2. Lights On
3. Golden Fleece
4. Madeline
5. Seek Cover
6. Someday Darling
7. Cedar
8. Shotgun Wedding
9. Like Secrets Beneath
10. Don't Get Me Wrong
11. There's a Reason
12. Valley of Gold

Keeping at it

2009-06-17T08:21:00.000-07:00

Busy couple of weeks, personally and for the band. We started our Toad Tuesdays residency this month, playing the tiny bar. We also gave the Dive a go on Friday and played our buddies, Quixote's, CD release on Sunday at the Middle East. Let's do a quick take.

Saturday, June 6: Harpoon Summer Session. I went solo (or semi-solo, since old Jeff Katz joined me for a few songs) at this show since Mike was in Texas, though it would have been perfect for the band. People were milling about, getting drunk on the tasty Harpoon beer, and looking to rock. I think I actually played well enough, which was a welcome surprise, but it was missing the excitement of a full rock show. I did get to do a Neil Young song and some old man up front gave me two thumbs up before promptly turning and walking away (presumably to refill his beer). Also, I tried out "On Our Own," which Todd called the best song I did all night. I said, it's on "It's Gonna Change." He refused to believe me. A few days later, practicing with Matt and Scott, we gave it a go and it actually sounded pretty darn cool. So maybe we can re-work the song for Cassavettes, in the same way we reworked "Research Blvd" or "Like Secrets Beneath."
SET LIST (from memory): On Our Own / Golden Fleece / Okono Road / A Thousand Ways / Comes a Time / Ambivalent Farewells / Set Free / Broken Beaten & Blue / The Rain's Not Far Behind / Til the Wheels Fall Off / You Led Me Into Your Love

Tuesday, June 9: First Toad show. We have to scale things back because the bar is so small, but it's good practice for a band not so good at controlling stage volume. Nonetheless, things picked up, and according to multiple people in front of the stage, the sound was QUITE good. That's a plus. On stage, different story. It was murky, and we couldn't tell what was what. But as long as it sounded good OUT THERE...
SET 1: Madeline / Carolyn, Don't Leave Like This / Ordinary Girls / Golden Fleece / Someday Darling / Research Blvd / On the Lam / The Devil's Arms / Whitewashed / Valley of Gold / Cedar
SET 2: A Hard Rain / Lights On / Debts / The Nadir / There's a Reason / St. Anthony / Seek Cover / Trouble From the Start / Shine a Light

Friday, June 12: Dive Bar, Worcester. People continue to drop off in the summer, with the back patio open. We were actually supposed to play the back patio since the weather was good, but an Irish festival next door thwarted our plans. No matter. It was a good time, and people were really positive. Unfortunately, I don't have a set list for you. The only surprise was our first attempt at a cover of "Alex Chilton" (and a surprisingly good version of "Glory Son" -- a song that hasn't been hanging too well lately).

Sunday, June 14: Quixote's CD release, Middle East Upstairs. Now THIS is what we're talking about. We finally got to rock. It's been over a year since we last played the Middle East Upstairs and it felt good after holding it all in to let it all out. We played a LOUD, crazy show that felt, well, right. But it wasn't out of control (though I did mix up the last few songs somehow, and throw our set clincher off). After initially starting to, oh, about 10 people, the place filled up and everyone was dancing and grooving by night's end. Made some new fans -- also had the weirdest buyer interaction ever. These dudes bought a couple shirts and CDs and looked really pissed at me, and when I put out my hand to shake, they snickered and walked off, like a couple of badasses. But why? They just bought our CD! Quixote put on a quick, yet megafun show. Those guys rule. Good night all around, even if I had to work early.

SET (from memory): Ordinary Girls / Lights On / Don't Get Me Wrong / Golden Fleece / On the Lam / Seek Cover / I Come From the Water / Cedar / Shotgun Wedding / Shine a Light

Tuesday, June 16: Toad, take two. This was far better. We were slightly louder, but it made all the difference. Far more comfortable on stage, and I hope it continues to grow. By the time we finished the set, the place was at capacity, which was cool (and not cool, since Jimmy Hank, Mikey and co. got turned away). Also, some dude who saw us in Brooklyn with Superdrag told him friend that in a year we'll be bigger than Kings of Leon, so they came to the show. That was awesome. Cool guys, fun to hang with. Also, it was the first time I remember feeling like we were really hitting a groove on the ballads, and the set didn't lose any momentum. We could have played this set at the Paradise and people would have been into it, if we got the groove this right. That's not tooting our own horn -- just charting progress.

SET 1: The Nadir / Madeline / Carolyn, Don't Leave Like This / Ordinary Girls / Lights On / Empire Central / Seasons / Six Hours / On the Lam / Golden Fleece / The Devil's Arms / Valley of Gold / Cedar
SET 2: A Hard Rain / Research Blvd / Debts / Don't Get Me Wrong / Trouble From the Start / Whitewashed / St. Anthony / Someday Darling / There's a Reason / Seek Cover / Shine a Light

Anyhow, coming up, we've got Grumpie's on the Cape on Friday (bummer: we need to bring our own PA; nonbummer: it's on the Cape), Toad again the next two Tuesdays in June, and of course the big Fourth of July campout in Vermont. Get your tickets soon. That one's going to be wild. Somewhere in between this mess, I have to move. Ay yi yi, it's looking pretty nutty.

Untitled

2009-06-04T07:38:00.000-07:00

First things first, I know it's been awhile and I've missed many an update. But some things are happening, starting with our nomination in the Boston Phoenix Best Music Poll for "Best Roots Band." You can cast your vote for us (against the likes of Girls Guns & Glory, Dennis Brennan, and Session Americana) by clicking here. Vote many times, if you wish.

Last night, we went to the BMP pre-party at the Middle East Downstairs, and I bumped into FNX DJ Dave Virr. I asked him if he has something to do with the nominations, and he nodded vigorously. Standing next to my buddy Emeen (of The Sterns fame, but more recently his own excellent Emeen Z Band), I said, "Then, what's the deal with the snub for my man Emeen?" He said, "he didn't put anything out this year." Neither did we, I thought, unless you count "Animal Friends." And, as Scott said, was that a "roots" album? Not to sound ungrateful, just a tidbit of our conversation.

Anyhow, I know it's been awhile since I wrote (almost a month!) but truth is, not much has happened, at least show-wise, since then. We played The Dive again, and the summer is taking its toll on the crowd SHOCKINGLY, and we played the halftime show of the Boston Derby Dames, a women's roller derby league. I didn't know much about the sport, but it is interesting to watch. Very aggressive. Matt's eyes almost fell out of his skull (to join Creamer's eyes, already on the floor) watching the gals in tiny shorts. Those are my boys. Either way, first set was a bit awkward but some kids danced. Second set, we were definitely in the swing of things and got some older dancers, and some kids, and sold a decent amount of merch. The place was a Shriner's club and had all sorts of bizarre knick-knacks, including a giant camel onstage and a giant beanpot backstage (that Creamer wanted his photo with -- I'll see if he'll send for me to post). It was a pretty surreal experience, actually.

Anyhow, now Mike is in Texas, and the band is getting ready to start a month FULL of shows, including a Tuesday night residency at Toad. We must learn to play quiet. Or reasonably quiet. Just keep our stage volume in check. It's harder than you think, especially to keep the energy up. Anyhow, by the end of this month, we should be old pros. While Mike is in Texas, I'm doing a solo show for the Weekly Dig's Harpoon Summer Session this Saturday. I did an interview with the paper (again, labeled as a "country" band -- what gives? -- even though I explained that we never really were one, and certainly aren't now), that is here (you have to download the PDF since they haven't posted the stories online as links -- we are on pages 24 and 29). Here is my clearing the air of the "country" label, the only big highlight (besides the fact that I appear shirtless on the cover and inside the article -- and a special appearance by Todd Thibaud!):

“Country is a dangerous word,” says Yoder. “If you’re talking new-Nashville country, then that’s a very singular sound. In the popular viewpoint, it’s going to be misinterpreted. Then, if you throw in the alt-country tag, that’s such a wide spectrum of music at this point that it could mean anything.” Yoder and his bandmates in Cassavettes have a different story arc. “As this band progressed, we turned into this much more straight-ahead version of rock music. We love country and all that alt-country stuff, but it’s not really us.” Cassavettes have even been recording their latest record with David Minehan (The Neighborhoods, Paul Westerberg)—a good fit, considering the Minneapolitan energy of their live shows.

Also, I did an interview with a blog in Dallas, so hopefully that gets posted soon. He asked to post "Shotgun Wedding," because (warning: explicit description follows): "That's song's rockin'. It sounds like a buncha bears rape-fighting some lions in a guitar center. Great job." Definitiely the most obscene label I've ever encountered for our music -- and worlds away from "country" or "roots."

That's about all I've got today. Vote for us in the Best Music Poll and tell your friends, if you so desire.

Tighten up, boys

2009-05-14T10:14:00.000-07:00

Getting tight is priority no. 1 at the moment. Hence, the band is in the midst of playing pretty much every weekend (save a few dates here and there) for the next month and a half.

Last weekend, my long-desired dream came true when we played Johnny D's -- walking distance from my house. Pretty cool, too, considering some pre-show nachos almost spoiled the night. But instead it was just a rollicking good time with our old friends The Shills and Squidda. Those guys rule. We partied afterward. But back to the show, sort of: Highlight of the night was Scott being accused (in a roundabout way) of starting trouble with some Janeane Garofalo protesters across the street at the Somerville Theatre. According to the booker/birthday boy Martin, by way of a Boston Herald beat writer, Scott was looking for trouble with the group upset over her Tea Party comments. Scott was more surprised than anyone upon hearing this story. According to him, he just walked by the theater, and yelled "Janeane." However, when I scanned the newspapers and internet for mention of Scott starting trouble, multiple publications instead spoke of how there were NO protesters, surprisingly, after they had promised to be there. So, who knows what anyone is talking about. From my perspective, for what it's worth, I did NOT see any protesters, but I do know that Todd's drummer made an appearance at Janeane's show.

The next day, we did a private party at the downstairs portion of Copperfield's. It actually ruled -- considerably. I had a feeling it was going to be a good night (even after the refs made yet another officiating flub during a Mavs playoff game, and blew -- or failed to blow -- a call at the end of Game 3), but I didn't think it would be this good. We were relaxed, we actually sounded pretty tight, and we somehow found parking at Fenway just an hour or two after the game ended. A miracle? Maybe. Also, I heard perhaps the loudest crack of thunder I've heard in all my life, and it will remain the bar for all future thundercracks. Check out these party photos. We look like we're partying. And we were.
SET 1: Ordinary Girls / Lights On / Madeline / Research Blvd. / Golden Fleece / Empire Central / St. Anthony / The Devil's Arms / On the Lam / Seek Cover / You'll Be Crying Soon / Marie / Glory Son / I Come From the Water

SET 2: A Hard Rain / Don't Get Me Wrong / Carolyn, Don't Leave Like This / Debts / The Nadir / There's a Reason / Trouble From the Start / Whitewashed / Someday Darling / Valley of Gold / Seasons / Cedar / Shotgun Wedding / Shine a Light

Next up: Dive Bar in Worcester tomorrow and then Shriner's Auditorium in Wilmington on Saturday. The latter is a Boston Massacre halftime show. I've got 10 FREE tickets, if anyone wants to go see some roller derby action.

Mission control

2009-05-05T09:21:00.001-07:00

It's tough to muster the time or energy for blogging these days, so maybe I should reconsider the mission of this blog. Initially, I had hoped for it to be a window to the band, but I've found that to be exceedingly difficult due to the constraints of time and the issues of secrecy. In this objective, I definitely failed you. I also like the idea of it being a running breakdown of shows we've played, little memories I don't want to forget, that kind of thing. In that respect, I would still like to keep it up, even if I've slacked for weeks and missed a number of shows. I will still do my best to keep the recountings coming, and I apologize in advance for any lax attitude toward that goal.

We've done the Dive since, and gotten this nice write-up... at least about our song titles... "They have a song called “Shotgun Wedding,” which is a phrase I love." Me too.

We also played Groton, Conn., and witnessed the single strangest near hook-up I think I've ever seen. Just flabbergasting. And Matt and Scott ate ribs, courtesy of our resident rapper Jimmy's wife. Finally, we all took a little vacay down to Virginia Beach, where the Shiner flowed like wine, and missed a Dewey Beach show en route.

And we've got a couple shows this weekend, as Scott skids back from Texas with just hours to spare: Friday at Johnny D's (which I've long wanted to play) and Saturday at Copperfield's for a private party.

Also, two quick shout-outs: Happy birthday to our little drummer boy Matt Snow yesterday, as he turned the ripe old age of 25; also, congrats to the fellas from The Luxury for winning the WBCN Rumble this year. Them's good boys.

Chapter 2

2009-04-15T09:51:00.000-07:00

Upon arriving back at work today, my co-worked asked if the record is done. Well, yes, in some aspects, but really, finishing mixing doesn't feel like much of an accomplishment. It's just a step toward the completion of the whole deal. In fact, it's a very minor occurrence in a long, twisted process that still must unfold. Here's what we're looking at...

-As long as everyone is happy with the mixes, we need to all listen to the tracks and figure out what songs make the cut -- we'll meet with Todd and trade notes next week
-Once that's done, we determine an order
-While we've bandied about a few names, we have yet to settle on a mastering engineer. So figuring out who will master the record is big
-Then, naturally, we master this sucker in that order and with those songs
-Again, we've bandied about a bunch of possible album titles, but are far from agreeing on anything. So, we need to come up with a title for the record (and no, it can't be "Title of Record")
-Figuring out some artwork is always my least favorite part of the process, as it is a multiple-part process in and of itself (determing whose design we'll use and we all like, writing text for the liner notes, making sure all the credits are right, proofreading the text again and again, finding a printer and printing format we like [although I think we'll use the same format that I took with my solo record], and finally proofing the copies from the printers multiple times)
-Print the record and allow Creamer a few months to work his magic before we actually release it, as I discussed in the last post
-Start planning a record release party, a fall tour, promotion, etc. Plenty on tap...

Either way, this is just the end of Chapter 1 of this record. Now comes the real test of endurance.

Anyhow, the band is taking a little break after our show in Delaware this weekend, and getting in some (cold) beach time down south. Either way, I think after a particularly bleak winter, it's been earned. And maybe it's a reward for finishing mixing, too...

Tunnel vision

2009-04-14T11:19:00.000-07:00

Day 2 at Woolly Mammoth Studios in Waltham, Massachusetts, of what will hopefully be the last of the days of mixing this record. Not that I don't enjoy hanging out with Todd and Dave and Jeff, but it's getting a tad bit expensive. OK, we crossed that bridge long ago. Now, it's just piling up. I know there is some resistance within the band of this record coming out in August or September, all of which I full understand. At the same time, I trust Creamer and if he says he wants three months after the record is completely done (mixed, mastered, printed) to put it in the right hands, I'm happy giving him that. We owe it to ourselves to do this the right way. Patience is still king.

Anyhow, yesterday, I spent the first half of the day with Mike, and the latter half with Matt. We finally finished the harmony and mixing of "Nothing From You" (which now may be taking the name "Glory Son" or something along those lines), and Dave Minehan took a stab at some guitar and harmony vocals on "Seek Cover." All in all, we achieved a more minimal vibe on "Seek Cover," which I think suits the song, rather than the original, organ-heavy approach. Both songs certainly rock. We also touched up "Lights On" for its close-up, and got the guitar tone back to its original dirty sound (which just meant reversing the effects of EQing the track). A decent day's work.

Today, we reviewed yesterday's work to make sure we weren't konked out of our gourds, and it all sounded pretty nice, save a few minor changes here and there. Now, we've spent the past few hours giving "Madeline" new life, as the whole track sounded a bit sparse to Todd and I. Oddly enough, this means MORE organ in many parts -- the only organ yours truly has ever played in the studio. I'm fine with it. It's got a cotton candy creepy vibe, like a haunted house. Still to come: minor tweaks to "Golden Fleece" and "Ordinary Girls." With that, we should be ready to master (fingers crossed...).

Anyhow, last we talked, the band was heading down to Brooklyn to play the enormous Music Hall of Williamsburg with our boys, Superdrag, and former local fellas, Aberdeen City. The trip to New York with bizarre. For some reason, we always have the hardest time drawing people to our largest, best-sounding shows in New York. Well, wait, I probably know the reason. This was on Easter/Passover weekend and cost twice as much as our normal shows. Still, it was a good time. We rolled in late, hung in our dressing room for a while, and finally did a line check to an empty room. "OK, guys, see you in 10 minutes," the sound guy says. Turns out, he wasn't joking. We went on to a mostly empty room, but those that were there definitely were kind. By the end, the room had probably filled to about 50 people. But when the room holds 500+, it feels like nothing. Either way, even Superdrag had trouble, with a smaller than usual crowd and some sound difficulties. We partied (too hard) and screamed throughout the set about Tom Pappas "letting the cotton candy fly" (which I'm hoping will catch on -- he has a big 'fro). The Superdrag guys, by the way, are too kind to us. Just good Southern folk who don't judge us for getting crazed. I love their music, too, you know. Matthew Caws of Nada Surf was on hand, too, by the way, and Matt and Scott approached him. Apparently, they kept their cool. Scott's not so sure.

Anyhow, I took it easy over the last couple of hours before the show ended, and after Creamer failed to get us into his hotel, we decided to drive back. But first, we'd stop at a famous New York diner we figured. Passed an open deli, but Scott wanted to sit, so we followed Matt's GPS to a CLOSED diner. Then another. Then we gave up on finding the original deli and went to a McDonald's in Connecticut. I ate a donut. We also exited the highway in Greenwich, Ct., straight into some dude's yard, where all four of us exploded from the car and proceeded to urinate at 3 a.m. in the rain. No harm, no foul. We rolled into Boston at 5:30 a.m. feeling fine.
SET LIST: Ordinary Girls / Lights On / Don't Get Me Wrong / Golden Fleece / Seek Cover / Cedar / Shotgun Wedding / Shine a Light

The next night proved the hazards of live recording. The pressure got to us. Maybe. Or possibly the excitement of being back at The Paradise in front of a hometown crowd with one of our favorite bands. Either way, it added up to a subpar performance that is magnified because we shelled out some big bucks to record it. Thinking that we had been sounding good lately and would want to document that live energy, we bandwagoned onto a live recording that Superdrag had set up (to split costs) and ended up blowing it, fairly big time. "Shotgun Wedding" fell apart at the end, "Shine a Light" completely lost time during the guitar solo, "Madeline" was played lightning fast, "Cedar" and "Golden Fleece" both got off to rocky starts. But why dwell on such temporary mistakes? I've listened to the live recording, Matt and I had a big fight, but it's all in the past now. No harm, no foul -- just like peeing on that guy's lawn. Just a few hundred bucks down the drain. If we can salvage 1-2 tracks perhaps it'll be worth the money, and that doesn't seem unreasonable.

Either way, the night was a lot of fun outside of the temporary embarrassment of a botched opportunity. The guys from Mic Harrison and The High Score are as cool a band as we may have ever played with (and awesome to boot) and again, we were playing with F-ing SUPERDRAG. How could it not rule? Also, the place was surprisingly full, especially compared with the night before, but considering it was Easter Eve, I was shocked. A lot of fine folks came out, and we ended up having a lot of fun. Plus, I felt like a big shot when I jokingly asked Paradise security guy Mike to get rid of our drunk friend Casey because he was "bothering us." He picked up on the joke, and really roughly grabbed Casey and dragged him out. It ruled. So, see, all's well that ends well.
SET LIST: Ordinary Girls / Lights On / Don't Get Me Wrong / Golden Fleece / Seek Cover / On the Lam / Madeline / Cedar / Shotgun Wedding / Shine a Light

Before the show, there was a bit of press from our old pal at Ryan's Smashing Life, with some nice comments below it:

Fresh off a very successful SxSW Music Festival appearance (a definite buzz band and the subject of much twittering) in Austin last month, Superdrag are touring the land to support their new album, Industry Giants. Their battle wagon rolls into Boston tonight for a gig over at the Paradise where we expect they will find more than ample support from local rockers Cassavettes - who are more than capable to make a roomful of noise on their own. Expect to be thoroughly entertained!

Plus, Bostonist gave us some good lovin':

Boston's Cassavettes are supporting along with Mic Harrison & the High Score from Superdrag's hometown. Both bands are serving steaming cups of twangy rock. We've heard Cassavettes crank the roots-to-rock ratio up and down as it fits their mood, but the band always delivers the goods.

Good vibrations

2009-04-07T09:13:00.000-07:00

A bit of press (surprisingly) came from the two shows last week -- Taste of the Nation at the Hynes Convention Center and the show at the Vixen in Provincetown. Local blog Bostonist reviewed the food show, and gave Cassavettes a thumbs up. Check it out (this via Chris)...

Behind the din of clanging pans, sizzling food, and people having a great time were the melodies of Cassavettes, a young Boston-based band. The band was up on a stage at the back of the convention hall and surrounded by, well, food coma tables. You could see people drifting in and out of seats throughout the night, pausing to enjoy the music and contemplate if they had reached the limits of their stomachs. The addition of live music to this event made it extra special and the band was really a great choice, their upbeat music kept the crowds awake and flowing throughout the evening.

To make matters even better, a DJ from the Provincetown radio station WOMR liked the band and gave us some spins on Sunday night. He wrote an email to the promoter, "I really dug CASSAVETTES they were sure some good jingle jangle power pop. I played them on Sunday night's show. All good stuff." We should definitely look into doing an in-studio thing there when we go back for the festival this July with Presidents of the United States of America.

Finally, best of all, I completed my taxes last night. Thanks to the married one-two punch of Mr. and Mrs. Motion Sick/Blitzkrieg Bliss for their kind advice!

Want to win tickets to see us play with Superdrag and Aberdeen City in Brooklyn this weekend at the Music Hall of Williamsburg? All you have to do is ask bass player Tom Pappas a really good question. Click here for details.

Back in action

2009-04-06T11:29:00.000-07:00

My blogging has really taken a hit lately. For one, I have not done a great job with set list archiving (which is the bread and butter of the blog). For another, I just haven't blogged much. Well, I'll try to be better, but in these rocky times for my place of employment, it may be tough to find the time. That said...

We played two shows over the last few days, one of them a three-set barnburner at the Hynes Convention Center for Taste the Nation, a restaurant-sampling event, and the other a better-than-expected show in Provincetown. The restaurant show was delicious, which you can't say about many shows. We ate our way through a couple of those sets, as some kind souls brought us various pastries onstage. Between sets, we roved table to table, sampling wines and barbecue and all sorts of good stuff. It finally gave me a chance to taste Blue Ribbon BBQ and Jake's Dixie Roadhouse, and put them plate-to-plate with Redbones BBQ. I'm proud to say Redbones still emerged the winner, which is satisfying to know that all my time spent there hasn't been for naught. We were paid in food, in the biggest way possible, and we literally rolled out of the gig. All in all, pretty darn tasty.

The strange thing about this Provincetown show was that we went in with fairly low expectations and came out with rave reviews, thanks to some 11th hour repositioning. A beach show on a rainy Saturday night out of season? Things didn't look good from the get-go, save some fun airhockey action beforehand. But by the time we went onstage -- actually, the MOMENT we took the stage -- signs of life sprang forth from the room, first in small cheers, then larger ones. Eventually, it was an all-out dance party, with some leg-lifting action among the frontline of Mike, Scott, and I (there was a cool rise to the front of the stage, where we could prop up our legs). The crowd was feeling it so much that the lead singer of the headliners asked us to do another song, which we were more than happy to deliver. It felt good. By the time headliners and all-around cool dudes Squidda took the stage, people were in party mode and dancing like I've never really witnessed. For measure, Scott's moves fit in fine amongst the locals.
SET LIST: Ordinary Girls / Lights On / Don't Get Me Wrong / Golden Fleece / Madeline / Cedar / I Come From the Water / Shine a Light / Shotgun Wedding

Anyhow, big shows this weekend with big names: Superdrag. Aberdeen City. Mic Harrison & The High Score. It's going to be nuts. There's a chance that we'll pull out a BIG surprise. No confirmation yet, though. Just make sure you don't miss it.

Bad day

2009-03-29T13:15:00.000-07:00

Nothing -- and I mean nothing -- gives me pause about my time spent in the band like doing taxes. Since everything is filed under my name and information, I pay the band's taxes. Which means my refund goes way, way down. Just watching my refund, my PERSONAL refund (i.e. not band, although in the eyes of the IRS, it's one in the same), plummet by thousands of dollars from entering 1099-MISCs earned by the band is enough to make me want to leave the country. It doesn't seem right to me, but it is sort of my cross to bear since I am the one financially responsible for the band, and have been. And it's been like this every year the band has been around, because we are still fairly unprofitable and the money we do make is untaxed -- until I file, of course. And best of all, my taxes aren't even done yet. So take heart: there's still money to lose.

I need to find a solution to this. Creamer is calling his accountant, but that's no sure bet. I've talked to Todd about this before, but he files personally since he is his band, basically. I've tried to file for a business tax ID number before, and I need to continue doing so, because this is getting beyond ridiculous. Anyhow, advice is appreciated. Have at it.

Compounding my frustrations, the Mavs just blew a 15-point lead to Cleveland and lost by almost 30. A 45-point swing. And it's raining outside. And I threw out my back playing basketball yesterday (though it feels MUCH better). And I have a bunch more to complain about, but neither the energy nor the willing audience, I'm sure. Either way, bad, bad day.

Anyhow, the band played two shows this weekend, one at the Dive Bar and the other in Pawtucket, R.I. at a bar called the Blackstone. Both were pretty cool, but fairly unthrilling. Truth be told, I'm not really thinking about that right now, so I'd rather not recap. Maybe later.

Pawtucket SET LIST: Ordinary Girls / Lights On / Don't Get Me Wrong / Golden Fleece / Someday Darling / Seek Cover / Cedar / Shotgun Wedding / Shine a Light

Tickets going fast

2009-03-26T08:55:00.000-07:00

We've got to move some tickets to justify hanging with the big boys, Superdrag. In case you missed constant warnings, Cassavettes will be rejoining SUPERDRAG, a band that I personally have loved since the 4th grade, for a couple shows this month -- one in Brooklyn, the other in our hometown of Boston. These are can't-miss shows!

The first show will be Friday, April 10, in Brooklyn at the Music Hall of Williamsburg with Superdrag and Boston-boys-done-good Aberdeen City. Doors are at 8 p.m. and it is an 18+ show.
Tickets are $20 and can be found here.

The next night, Saturday, April 11, we come back to one of our favorite venues, The Paradise Rock Club in Boston, with Superdrag and Mic Harrison & The High Score. Tickets are $18 in advance (and we strongly suggest buying them from The Paradise box office, as it will save you a boatload on Live Nation service charges) or $20 day of. Doors are at 8 p.m. and it is an 18+ event.
The tickets are here.

In the meantime, keep your ear to the ground for new tunes from Cassavettes. Our new record is in the home-stretch now, gang, it's just a matter of the finite details coming together. Check myspace.com/cassavettes for new tunes soon, and keep an eye on the schedule for upcoming shows in Rhode Island, Delaware, Worcester, and more.

Enough of the PR thing, I must get back to work. Here's to hoping those back-to-back Superdrag shows are a smashing success!

Luck of the Irish

2009-03-18T12:12:00.000-07:00

I'm feeling more Irish than ever this year, which is quite rare. I don't really take an active interest in my Irish heritage, you see, and at the risk of sounding horribly naive, I'm just not all that interested in that particular culture or section of my past. I know I should be. For one, TD is pretty darn Irish (not to mention a good swath of my maternal side of the family). And yes, country music is directly derived from Irish folk. I'm not saying it's all bad or that I strongly dislike it. I just don't seek it out, like I would with other cultures, particularly ones I studied in college. It's just not something I connect with very much, even if I minored in history (although it was African-American history). But for whatever reason, this year, the Irish side of me got its due.

Not only did we attend the Southie St. Patrick's Day parade on Sunday for the first time in years (usually, we can't go because it directly coincides with the week of SXSW, and given my pick, you know where my allegiance lies), but Kier from Three Day Threshold organized the Irish Lads to play some tunes for a packed house of revelers at The Asgard last night. I was hesitant, and almost didn't make it. But I'm glad I went. I told Kier to get Mike in on this, as he is the Cassavette with the most exuberance for the Irish culture (though Matt's beard may argue otherwise). I'm sure glad that happened, because I got a drunken call from Mike at 4 p.m., yes, 4 P.M., yelling "Hey man, THIS IS SO FUN!!!" I showed up an hour later, he was leaned over the table, playing an unplugged (and thus un-audible) guitar and knocking back Guinness. He also was talking a lot into the microphone about the name The Irish Lads and how his microphone was hot, but he's been a "Hot Mike all my life." I was cracking up. Quite a sight to behold. All in good fun, and the spirit of the day. It's always good to get out and play with some musicians outside your inner circle, so for that, I am most grateful. Kier is a fun guy to watch interact with the audience, although he seemed stressed most of the night. Then again, when you're doing a four-hour gig with an unrehearsed group, wouldn't you be?

Anyhow, along with the parade on Sunday, we spent the weekend with our buddy Jaclyn, and somehow fit in a long night at the Dive Bar on Friday and a recording session with Todd on Monday. The Dive Bar was fun, as always, if not a thinner crowd than usual. No disappointment on our end, though, as we had a good time (including dusting off two Neil covers, "Walk On" and "Cinnamon Girl"). The recording went smooth on Monday, too, but now we just need to figure out a couple final details before mixing on April 13 and 14. For now, all we can do is chill. That's why TD and I are headed to the beach this weekend for a much-needed escape from the wintry doldrums. Maybe I'll look further into my Irish heritage while there -- though this week has given me plenty to chew on.

Band of brothers

2009-03-12T09:01:00.000-07:00

I did not succumb to the madness of U2 one block away from my home yesterday, when the biggest band in the world (by some accounts) played the Somerville Theatre. But I did read Sarah Rodman's wrap-up in today's Globe, and a brilliant little nugget about being in a band was dropped during the band's Q&A session with the audience. And it comes from their drummer, Larry Mullen Jr.

Mullen in particular thoughtfully responded to a question about advice for aspiring bands. He spoke of good songs and even better arguments but stressed democracy "where everybody feels a stake in what they do. The idea of hired hands in bands just doesn't work, it's about respect for the individual."

That is solid advice. And it speaks to an area that I believe our band, thankfully, gets right, and far too many forget about. I've known too many bands, not that I'm calling out anyone in particular, who don't allow "the band" to grow for whatever reason. That's why bands built on friendships or mutual respect in some area (playing ability, charm, etc) are effective and usually longer-lasting than bands that put forth a one-man show with a collection of unimportant backups. It can't be about you -- it's about everyone together (the guys playing the instruments, the audience, etc). Really, we are just lucky enough to be standing in the middle of the madness, taking it all in.

I'm not saying you can't have success as a solo artist, but I think people naturally gravitate toward bands. The chemistry is more attractive than the individual charms. That's why people are excited when Springsteen reunites the E Street Band or when bands like U2 (who have had their close calls with breakups, apparently, over Bono's social/political duties and its priorities alongside the group) stick it out together through thick and thin.

I've said from the beginning of this band, and certainly from the beginning of this blog, it starts with selling the belief in yourself. If all four of you believe that great things can happen, then you're setting yourself up for something -- whether that's the success you seek is up to chance, luck, and fate at some point, but at least you're making an honest go at it. Often, I likened this to the Dallas Mavericks quest for a championship, as I did a few years back.

If you're going to be the primary motivator of a group of people, you need to make sure everyone has the same goal. More importantly, you need them to believe that that goal is rational, even if outsiders doubt it. When Avery Johnson took over the Mavericks with 16 games to go in the season two years ago, he immediately declared the Mavericks could win a championship -- not next year, but now. Everyone ridiculed him. But guess what? They almost did. The next year, they got even closer. And this year, they are nearly every sportswriter's pick for the title. But belief has to come from within before it can be reasonable to those outside. This is something I tried to establish very early on in the band.

Obviously, Avery Johnson is now out, and there has been plenty written about his flawed leadership. But say what you will, he got the Mavs closer than any coach before or since. And the principle of preaching belief in yourself is universal.

Having four guys emotionally invested in the music they are creating is what makes music magical, and it's something you just can't replicate with studio musicians or hired hands. That's how bands collectively find an identity (and again, look at U2, they couldn't even play their instruments when they formed, and together they grew into the massive group). That's how great records are made, and beautiful magical moments are created, and hopefully, caught on tape. That's the true essence and beauty of BANDS, by definition, a collection of individuals. All having their say. All committed to each other. All sharing the glory and the heartache. That is a band.

A Tale of Three Itty-Bitty Cities

2009-03-11T08:44:00.000-07:00

OK, they aren't itty-bitty. Well, one is. But the other two cities were quite large. On this three-date swing (which was supposed to be the front end of our now-aborted tour to Austin and back), we hit Troy, NY, Brooklyn, and Philly. And the good times didn't end. Maybe it was the good weather (OK, it was definitely the good weather). Maybe it was the male bonding time. But all in all, the trip was a success, even if it looked a bit cloudy (figuratively) from the get-go.

The first night we played with our old pals Quixote at Rensselaer Polytechnic Institute in Troy. College gigs are always fun, but this was no ordinary college gig. It was part of a tour, so we needed a place to sleep afterward. Furthermore, it wasn't at a club, but rather a student activity space that had been converted, quite nicely, for shows. It was cozy, comfortable, and it turned out to be quite fun. Scott got to eat Long John Silver's, which made his mouth smile and his heart hurt, and I tasted red meat for the first time in two months in the worst way possible: Taco Bell. Luckily, I only had a few bites before abandoning ship and finding a turkey sandwich elsewhere. Anyhow, it was the start of the RPI kids' Spring Break, so the room wasn't exactly full. But it wasn't empty either. It was a nice mix, and those that were there, were there to party. They crowded the stage, danced, and generally had a good time. They even let us sleep in their student activity space/the venue after the show was over. So, that solved that problem. It evened out to a nice night -- Scott and Mike went to drink with the college kids and townies at a local bar, Matt and I stayed and got reacquainted. Some drunk college students wandered in, and didn't seem surprised to see us sleeping there. Instead, they wanted to jam, before deciding it was a bad idea. The two boyos wandered home about 2 a.m. and we slept a solid seven hours before hitting the road. We stopped in Albany, NY, on Broadway, for breakfast at this little diner. I had oatmeal. It ruled.

Driving through upstate NY can be a mix of feelings. Regret for hitting that deer years ago. Awe at the surrounding beauty. Luckily, the second day's drive was mostly filled with the latter. We drove past Woodstock and other scenic mountain landscapes en route to the big city, finally ending up in Brooklyn's DUMBO area. We parked and made a day of it. The weather was unusually nice, so we strolled through the park, part of the bridge, and down to the waterfront. Several brides were taking pictures, as the city rushed to get outdoors for what was surely an Indian summer cramped amidst the usual dull gray March days. Finally, we got lunch at an upscale bar (well, Scott got wings; everyone else got drinks) and then headed for the club (our old stand-by, Pete's Candy Store). It was closed, so we ducked into a neighboring bar, which turned out to be one of the highlights of the day. The owner was a cool guy who talked our ears off in the best way possible. I stole Mike's cigarettes in an effort to get him to quit. It was fruitless. The dudes got some food, I held out for pizza next door which we ate later. By the time the show started, I think everyone was in full-on hang mode. The show passed quickly (followed by locals Lake Street Dive, who I possibly mentioned onstage 20 times, including one time saying they wrote "Seek Cover," which was quickly and vehemently rebuked by someone in the crowd), and for the rest of the night, we were on Pete's back patio, yucking it up with old friends. It felt like a summer night in Austin -- for some reason, that's what Pete's always reminds me of. This time, we had the weather on our side. It's funny to go from Pete's, which is quite small, to the Williamsburg Music Hall in a matter of weeks, but that's exactly what we'll be doing on April 9. It'll be good. Our buddy Steve let us sleep at his place, which was a relief, because it was only a couple blocks away. Matt undressed before anyone had put down their bags, fell face down on the couch, and snored his ass off while Steve showed us his working R2D2. Good night -- except for Matt's snoring.

The next morning we grabbed breakfast at a convenience store across the street, and ate at Steve's place. We watched a substantial amount of "Selena," which I believe may be one of the movies I've seen the most in my entire life. Every Spanish class I ever took we watched it. Why? I'm still not quite sure. But then again, anything for Selenas. When every grew a bit antsy, we hit the road (and the dregs of the Jersey Turnpike), en route to Philly. This turned out to be the first time we played Philly that we didn't get cheesesteaks. Instead, we headed straight for King of Prussia where Matt's sister lives to take our first showers of the trip. It felt real nice. We headed for Johnny Brenda's, where once upon a time we played with Superdrag, before finally ending up The Fire for an early show. The last time we played there, it was just awful. This didn't look much more promising. But an encouraging set by a band out of Columbia, S.C., who hung during our set and were quite enthusiastic, put this show into good-feel territory. Actually, believe it or not, I'd venture to say it was the best show of the tour. We didn't make a dime, but we did get to hang at another cool bar afterward -- North 3rd -- where Scott couldn't keep his jaw from dropping at the erotic art.

A long drive home in pouring rain wasn't exactly my dream, but I had to get back to record vocals with Todd on Monday. Alas, he canceled on me! Good thing, too, because my throat is shot. I don't know what's going on, but it feels like I've got golf balls stuffed on the sides of my neck. Hopefully it clears up before this Monday, when we're giving it another shot. Before then, we've got the Dive Bar in Worcester on Saturday, where our buddy Jeremy takes care of us. He's hooking up a cool 4th of July show which we're on, up in Vermont, and already this summer is shaping up to be pretty darn cool. We just got added to Dewey Beach Popfest, which means good times are sure to follow. I'm still determined to keep tradition and have a four-year anniversary show -- maybe in late June. We'll see. Lots to consider...

Review roundup

2009-03-04T06:51:00.001-08:00

From this month's Noise magazine (which has historically been hot and cold on us) comes this review of Rodfest, which actually has very little to say about our set, beyond that we shared a backline. Good stuff on Three Day and Rogue Heroes, though, and a nice picture of Kier.

After host Ric Gill, clad in full baby costume regalia, gets things going, Cassavettes take the stage with their mix of Replacements via Fastball garage rock. They set the tone of the night with signs of things to come, equipment wise. The downside of a show with many bands is often not enough time to get everything tested. All night there are broken drumheads, strings and amps, just about every band is delayed, but it doesn’t seem to kill the enthusiasm at all.

Scroll a little further down, and you'll find a review of my CD release show from the Lizard Lounge in January. This one is a bit more detailed -- and quite nice! Then again, it's a Kier special.

GLENN YODER
The Lizard Lounge, Cambridge, MA
1/22/09
It’s a beautiful thing when a band just gets up on stage and with their first song, they completely captivate you. Tonight, Glenn Yoder and his boys do just that. One song in and I’m practically knocked right off my barstool. Ten songs, a plate of delicious pepper jack covered sliders later (with some curly fries from the bar menu, of course), I’m still hooked. Glenn’s band is essentially a four piece that plays a mix of Americana that is sort of along the lines of the Jayhawks before they got poppy. Sometimes Glenn tones it way down and brings in guests like singer Sarah Blacker on backing harmonies, which gives the music a sensitive Joan Baez folk rock feel. At other times, the band explodes with playful energy. It’s at those times that Glenn especially reminds me of a young Paul Westerberg. Coincidentally, just as Westerberg did with the Replacements, Glenn is exploring a solo career and branching off from Cassavettes, his main band. There doesn’t seem to be much tension between the boys however, as Glenn’s Cassavettes bandmates look on proudly, even jumping up and joining in for a few songs. It shows some real class and support for their friend and fellow musician. Overall, it’s a great night of music. (Kier Byrnes)

Not too bad! Finally, as an add-on, Kier just sent me another review for my solo CD from What's Up magazine, coming out in a couple weeks.

GLENN YODER – Okono Road
Glenn Yoder is one of those guys who just know how to write a good tune. Combining the right parts of catchy, captivating and melodic, Glenn has proven himself as a quality songsmith. This isn’t big news to anyone who’s ever heard of the Boston by way of Texas band, Cassavettes, Glenn’s main project. Glenn’s solo debut is outstanding and while he may not take the listener to the same places as he does with his band, where he does bring you is an amazing journey unto itself. The music is a bit folkier, and at times a bit softer and rootsier but the result is an intimate look into the soul of a musician. Well done sir, well done.

Pretty sweet.

Four-finger discount

2009-03-01T11:56:00.000-08:00

Four, not five. Scott got a nice dislocation on Friday, hours before we were set to play at the Lizard Lounge. I went for an aggressive block during a particularly heated game of basketball, and turned Scott's pinky in a mangled Z. Despite my father telling me to pop it into place myself as he used to do to us, we decided to go to the ER, in case there was a fracture (there wasn't, we found out six hours later). Nonetheless, Scott has been a major trooper this weekend, playing back-to-back nights with a giant splint on his finger (the first night he tried buddy taping the finger to his ring finger, but gave up on that idea on Saturday). Either way, he reports that he is playing at about 85 percent with the dislocated pinky, which is certainly impressive.

The first night at the Lizard Lounge was a bizarre show. On stage, it felt as if no one cared to hear us at all, despite a nearly full capacity room. There was very little applause, and only scattered dancing. It was pretty hard to get into. Oddly enough, upon finishing we found that a large group from Chicago had come to see the show after seeing us years back at the Kings of Leon show and they were SO enthusiastic (and requested two last minute songs, which we played). Furthermore, people legitimately seemed to enjoy the show, which is nice to hear. I didn't, and I couldn't get myself into it for the life of me. Matt contends we played well; I'm going to say it was one of our sloppier performances in awhile. Poor stage presence too, but as Mike said, it's hard to jump around when the ceiling is just a foot above your head. All in all, as much as I like the Lizard Lounge, I am furthered convinced it is the wrong room for us. We're too loud, it's a strange shape (more of a listening room than a dancing, party room), and I should have seen that from the start. The only reason we booked that was because this was supposed to be a show trade with bands from New London, New Haven, and Northampton, and I figured there wouldn't be much pressure at the Lizard because of the small capacity, and our ability to draw there. I figured they wouldn't have a problem with three out-of-town bands on board (and most other clubs would). However, due to a miscommunication, the bands from Northampton and New Haven didn't even know about it. So, a two-band bill it was, and it worked out just fine. The New Londers, who go by Gone for Good, did a fine job and later slept here at the house. The next night, we got to hang with them in New London.
SET LIST: A Hard Rain / Carolyn, Don't Leave Like This / Madeline / Lights On / Don't Get Me Wrong / Golden Fleece / Someday Darling / There's a Reason / Ordinary Girls / Whitewashed / On the Lam / Seek Cover / Research Blvd / Nothing From You / Cedar / I Come From the Water / Shotgun Wedding / The Nadir / Debts / Shine a Light

Ah, New London. Always a good time. So strange. This time, Pat (our notorious stage-flipping friend) brought out some new Coast Guard folks to share a 24-inch pizza with us, including a dude named Jimmie and his son. Jimmie lived in San Antonio, and despite being a Spurs fan, he was about the coolest dude we've ever met. He used to rap, so we brought him up to do a rap in "Seek Cover." It actually sounded pretty cool. He was knocking it down. Afterward, he was really pumped up and kept telling me, "you guys are phenomenal. And I know phenomenal. I once had a song called 'Phenomenal." Phenomenal means, 'GAAAAWWWD DAMMMMNNN. HEEEEELLLLL YEEEESSS." Like I said, a really cool dude. Pat flipped off the stage again, and this time, no one caught him. He's probably pretty sore today. Scott also took a fall, into Matt's drums. Amazingly, it was captured in one of the below photos. Other than that, it was just a good time hanging with Naughty Mike and some other friends, and taking in some real New London culture. That's a GOOD night. I'm trying to get Sean to give us March 14 at The Oasis, so we can fill up our final weekend in March. Other than that date, we're playing every Friday or Saturday (except the 20-21, when I'll be out of town). So we're keeping busy.

SET LIST: Ordinary Girls / Lights On / Don't Get Me Wrong / Golden Fleece / Someday Darling / On the Lam / Seek Cover (w/ Jimmie rapping) / Nothing From You / Cedar / I Come From the Water / Shotgun Wedding / Shine a Light

The hard part

2009-02-15T18:00:00.000-08:00

Most depressing part of canceling this tour: How long it took to book it -- and how short it took to cancel it.

For perspective, I started putting this together in late November, got slightly busy in December, and then really hit it hard in January. I was making calls and sending emails as recently as earlier this week. But it only took about 10 minutes to draft an apology to all the clubs and send it out. Dang.

Anyhow, on to sunnier matters, tomorrow I'm working an EARLY shift (OK, that's not a sunny matter), then going straight to Todd's place to finish some vocal recording. Wednesday through Friday we are finishing the initial mixes, so it's really the last minute. I'm still dealing with a brutal cold that made singing nearly impossible on Thursday and Friday at The Atwoods and The Dive, so it might be a struggle. I'm going to sleep soon to the All-Star game, so hopefully I can beat this thing before recording some vocals. Otherwise you might hear some flemmy hacking on the record. It'll be "experimental."

Big, logical bummer

2009-02-14T12:10:00.000-08:00

Well, so much for the tour. For the last few days, I've been taking the temperature on whether it's actually feasible for us to go down to Texas next month (hell, I already have it off work, so it looked pretty darn certain). But it's just not. We can't afford it. And it's smarter to stay put and really make sure this record is everything that it can be.

Without a product to push and a guaranteed SXSW showcase (we still may get one, though we'll likely withdraw soon), it's fairly pointless to me. Yes, it would be cool to play a giant venue in Nashville with our idols Superdrag (but then again, we're playing back to back dates with them in April). Yes, it would be cool to play a huge hometown show in Dallas (that's really the biggest show I'll miss). And it would be good to see all those friends and family, of course. But it's not fiscally responsible. I can't find a way to rationalize going on this tour, especially with us being knee-deep in this record, me personally now being ridiculously in debt from this record and my project (everyone's hurting), and with only two shows that would really be worth playing at this point. It just doesn't add up. Plus, the van probably needs work before we hit the road and put 5,000-7,500 more miles on it, which obviously I can't afford. Everyone's hard up for cash. Matt's strung so thin, he hasn't been able to put in a dime for the record yet. How's he (how would any of us?) going to live for a month on the road, especially when we're not making guaranteed money or have anything in reserve? After conversations with Creamer, Todd, and Jeremy, I figure it's best to just stay here, and finish this record the RIGHT WAY, which is what those three have been preaching all along. It just seems foolish to rush it now, especially with it being such a huge (and currently uncertain) financial commitment. So, that's how we reached this decision. Luckily, everyone took it pretty well, and actually there was a sense of relief in the band, since I think everyone has been quietly scratching their heads as to how this was going to go down.

We'll stay here and keep playing Worcester (played there last night, just doesn't seem right to talk about it when this is a far bigger issue), Boston, and other areas to build up some cash, and really make sure this record puts us over the top. When we have a product to push, and are in the right place to do it, we'll hit the road in earnest. In the meantime, we'll keep building on the homefront.

I'm sorry we won't be able to see you all back in Texas, Nashville, DC, Kansas City, and more next month. I was really looking forward to seeing Shaela's newborn baby, to playing Rubber Gloves, and to Nashville. But unfortunately, we can't afford it. This tour would have been more about fun than about the future, when touring is really supposed to be about the future and building an audience. Those things will come, as we do this right. It's coming. I promise, as best I can.

Rough and tumble

2009-02-13T07:24:00.000-08:00

Tough set last night. It was our first time at the Atwoods, and it wasn't even supposed to be our gig, actually. I was supposed to do the solo thing, but working in a new guitar player and a new bass player, both of whom I'd never played with, was just too challenging. So, when the club wanted three hours of music (which would have been tough for the solo thing to pull off without a lot of acoustic stuff), I asked the guys in Cassavettes to play. All of them were free, and honestly, we need the money. BAD. So, anyway, stepping in at the last second, Cassavettes played the Atwoods, which is one of my favorite places to see music, but one of the more difficult for us to play. For one thing, we can't rock. And that's a problem. Matt did a good job keeping his volume down until we played "Seek Cover" and then when I tried to let him know he was creeping up louder, he got upset. So, it was that kind of night. It's hard to get the crowd into it when you can't get into it. I am having trouble singing with a huge cold, my guitar pedals are all messed up (both things need solutions before tonight at The Dive), and to make matters worse, the Mavericks blew a big lead over the Celtics -- although we couldn't watch it anyway.

SET LIST 1: The Nadir / Carolyn, Don't Leave Like This / Research Blvd / Debts / The Devil's Arms / On the Lam / Whitewashed / Trouble From the Start / Madeline / Seek Cover / Golden Fleece / Valley of Gold

SET LIST 2: A Hard Rain / St. Anthony / Don't Get Me Wrong / Like Secrets Beneath / Someday Darling / Lights On / Six Hours / Shine A Light

Long weekend ahead, too: Show tonight until late. Band meeting tomorrow with Creamer, in which we'll clean out the space and go over some stuff in regards to the record and what not. Valentine's Day. Recording on Monday. It never ends, and why should it?

Get groovy

2009-02-12T14:32:00.000-08:00

Per Barron of GrooveStone, this YouTube video of "Shine a Light" at Rodfest. It features Eric of Three Day Threshold on dueling drums with Matt. Quality isn't great though, but hey, we'll take it.

Going wild

2009-02-11T07:27:00.000-08:00

I'm still just finding reviews from my solo CD (which is definitely a good thing). This one I stumbled across this morning, at Wildy's World. He spends a great deal of the review talking about licensing. I wonder if that's how people judge music these days: no longer is it radio-friendly, but is it TV and movie licensing-friendly? Very odd.

Originally from Dallas, Texas, Boston-based Glenn Yoder carries his influences with him like memories. They infuse his musical choices as seamlessly as breathing. The singer/guitarist of Boston's Cassavettes heads out on his own with the release of Okono Road. Trimming a list of fifty songs down to twelve, Yoder leads with his best foot on his solo debut, mixing radio anthems with ballads and some old fashioned Rock N Roll in a highly commercial yet likable debut.

Yoder opens with the radio-friendly anthem Broken, Beaten & Blue. It's an incredibly tuneful song that fits neatly into several demographics. Yoder's voice is pleasant and easy on the ears, and the arrangement is as smooth as silk. That polished feel carries over to Okono Road in a very accessible acoustic pop tune. A Thousand Ways looks to be a mix-tape favorite, mixing balladry and soul in a moving performance. Til The Wheels Fall Off is a great acoustic pop tune, very likely to end up in licensing or on the radio if offered in those venues.

Just Like is the best pure pop song on the record and likely to be a crowd favorite at shows. It's Gonna Take Time is a very close second. Yoder reminds me very much of Canada's The Waltons on several songs, but nowhere more so than on It's Gonna Take Time. Other songs of note are Home, Give Me A Moment and You Led Me Into Your Love.

Glenn Yoder infuses pop-savvy acoustic rock with elements of country and soul to full effect on Okono Road. At times he sounds a great deal like Jason Plumb of The Waltons (I consider this a supreme compliment). Yoder is a very polished songwriter who will appeal heavily to several demographics, and is probably one of the more likely artists to end up with songs licensed for prime time shows you'll come across. Okono Road is a smooth and accessible recording with significant commercial legs.

Rating 3.5 Stars (Out of 5)

All in all, pretty nice review, eh? Speaking of my solo thing, I'm doing a full-band show at Atwoods in Cambridge tomorrow night, with a new guitar player and bass player. Should be...interesting. Come see the fireworks.

How's it hit your ears?

2009-02-08T15:43:00.000-08:00

Back in the studio. Today's songs: Lights On, Madeline, and Golden Fleece. Everything strikes me as pretty damn good. I also shoveled out the basketball court next door and got to shoot some hoops for the first time in a month or two. So, all in all, a pretty good day.

As far as the music, I'm really surprised how much everything is rocking me. I think that oftentimes when you're in the studio, you get excited at the prospect of the songs sounding better than normal, and being close to the end. Then only later does the warm and fuzzy feeling wear off and you start to despise the work. Surprisingly, that's already happening with my solo CD, which I was pumped up about longer than any recording I'd ever done previously. But most musicians I talk to have only a few of their old albums that they can truly be proud of, or even listen to. I know Cassavettes has yet to make one of those, at least for me personally. But this may be it, unless my ears deceive me, which is always a possibility in the studio.

Either way, I think my prevailing thoughts on the record so far is that this rock sound is just so much more comfortable for us than our previous attempts at alt-country or what have you. It's really crazy. I mean, yes, individually we've gotten better musically (hopefully) and are better at listening to each other (big hopeful), but this is just such a natural, comfortable place for our music that it sometimes feels too easy. Not that this record has been easy; it's been a lot of work. And a lot of money. We are running far over budget now, and I lost my beans yesterday over some lack of reliability to get the cash after a forewarning, which means I'll have to find some more money somewhere. Where that is, I don't know. Perhaps just squeeze my paycheck big time. Empty a savings account I've had since I was little (already emptied most of it). That kind of thing. But truth is, it sounds to me like it's worth it.

I've also tried to finish the booking of this tour. It's pretty tough, but if I can just get Norman, OK, Chicago, and possibly State College, PA, I think we'll be in fine shape. The rest takes care of itself. Still need a couple openers for tentative gigs, but I asked Mike to handle that and he's doing a fine job, even if most of the bands don't respond.

Let's see, other news: Last-minute gig at The Dive on Friday. It went well enough, a little light in the loafers through the first set, but a fairly rock-solid (no pun intended) second set. If only I could remember the sets.

SET 1: Ordinary Girls / You'll Be Crying Soon / Madeline / Don't Get Me Wrong / Lights On / The Devil's Arms / Marie / The Nadir / Research Blvd / St. Anthony / Seek Cover / Debts / Carolyn, Don't Leave Like This / Nothing From You / Whitewashed / On the Lam

SET 2: A Hard Rain / Valley of Gold / Golden Fleece / Trouble From the Start / Someday Darling (extended jam) / Cedar / Shotgun Wedding / I Come From the Water / Shine a Light (feat. PJ on guitar)

Finally, if you feel like nominating us for your favorite local rock band in the Boston Phoenix readers' poll (which we won a few years back), here's your chance. Click here and go to the arts & entertainment category for best rock band. There, type Cassavettes. Watch your spelling now, you hear?

Rodfest in review

2009-02-06T14:20:00.001-08:00

Well, you know we had fun at Rodfest. I'm glad to hear that the fine folks at Boston Music Spotlight did, too. In this review, they give us (and MOST of the other bands) some nice wordage.

Cassavettes were the first to take the stage and had the audience engaged from the first notes. The upbeat tempo and strong vocals of Glenn Yoder and Mike McCullagh had people dancing and singing along throughout their thirty-five minute set. The set featured new song "Seek Cover" which began with an interesting bassline from Scott Jones and later featured some impressive dancing from the bass player. The Cassavettes kept their energy high and didn't waste a lot of time between songs, which was a welcome change from the last time we saw them at the Paradise. They seemed to have an extra good time celebrating the birthday of the band that night and it made for a somewhat messy show but this time they turned things around and definitely brought their A-game to RodFest, transitioning seamlessly between songs and still managing to have fun. Closing out their set with songs like The Toadies' "I Come From The Water" and "Shine A Light" featuring Eric Austin of Three Day Threshold joining Matt Snow on dueling drum sets showed that while they are often categorized as "alt-country", these guys can certainly rock.

They make mention of having come to our July 5 Three-Year-Anniversary at The Paradise, which was pretty sloppy from a performance standpoint. We feel the same way, and I'm glad we were able to do it right this time. I still feel like I have to justify that performance to people sometimes, since so many folks came out that night that have never seen us before, and may never again. At least the BMS folks came back!

Back to work, boys

2009-02-06T10:51:00.000-08:00

All four of us are in the studio for the first time in weeks and we are...not working. There's not much to do as Dave and Jeff work out the kinks with the mix. We've been here for four hours already and we haven't finished the drums on the first song. Hopefully these sounds will set the template for the rest of the record.

We have high hopes that the weather will warm up enough that we can shovel out the basketball court next door and shoot some hoops tomorrow. That one is iffy, at best, since it's supposed to reach a high of 50ish over the next couple days. To entertain ourselves in the meantime, we're coming up with album artwork, ranging from a naked Todd Thibaud holding a mini naked Matt, to this photo of Todd with the four of us superimposed in as snot flying from his nose. The back photo would be a dirty tissue with a tiny Matt curled up, like when the Snuggle bear falls into the towels. Obviously, important stuff that warranted missing work. But the job will grow more important over the next few hours/days.

It feels strange to be mixing already. I really hope we're not rushing. There are things to be done still, and Todd is working simultaneously on his laptop to edit some tracks that aren't ready for mixing yet. Should we wait a little bit and let the songs air out? It's a tricky issue. But, we have the time booked this weekend, we have it off work, and we're here. So, we'll use it for what's ready, tune-wise.

Anyhow, last night was a late one. I went to Todd's to do some harmonies, and then rushed to pick up TD before my show at The High Street Grill in North Andover. The food was awesome. The crowd was a bit thin, and uninterested, but that's what I expected. I got to try some new, unfinished, just-written material, and fake my way through them. Hey, it was fun. I even just started playing a riff at one point and ended up faking an entire song off of it. That was not as cool as it may sound -- it was really bad, and oddly enough, I did it like right away and was wondering, "Am I out of material already?" But I did get to try some stuff I've never done before "Oh Maria," "16 Days," "Only The Rain," "Old Town" (an alternate version of "Green & White's" riff), and other songs that may never surface again. Plus, I did a few fun covers -- Todd's "Three Words," Three Day Threshold's "Chicken Shack," and The Jayhawks "Angelyne." Why the hell not?
SET LIST (probably wrong, but I'll give it my best shot): Okono Road / Angelyne / Made-up song / Set Free / You Led Me Into Your Love / A Thousand Ways / Oh Maria / Broken Beaten & Blue / Rainy Days / Til The Wheels Fall Off / The Rain's Not Far Behind / Three Words / Alone / Only The Rain / Chicken Shack / Someday Darling / Golden Fleece / Old Town / The Nadir / Bad Luck / 16 Days / Ambivalent Farewells

Anyhow, to take you out, this is the full-text of an interview I did with Spare Change, which is running next week. Check 'er out:

7 Questions with Glenn Yoder
Spare Change News

Q. What inspired the move to go solo? Are the Cassavettes done?

A. It's funny, there's this perceived notion that "going solo" must signal the demise of the band. When people hear about the record, that's the first question I get asked (for example, this is the first question you asked me!). In the liner notes of the disc, I wrote a short paragraph hoping to dispel this idea. When I first told the band that I was planning on doing this, I said that I felt the more you do in music, the more attention all of your projects get. It's all circular. So I don't think my solo disc precludes the band from getting recognition -- in fact, it increases it. Look, we're talking about Cassavettes right now. This is press the band wouldn't have had otherwise. So, the solo thing is in ADDITION to Cassavettes; it's not a death-knell at all. Everybody wins.

Q. Whats the difference between Glenn Yoder solo versus Glenn Yoder as a Cassavette?

A. The music is more open, and that's not a knock on Cassavettes. As bands evolve, I think, they kind of start to realize what works and what doesn't for their group of players. They hopefully learn to play to their strengths. Cassavettes started out trying to be this americana/rootsy sort of thing, with pianos and banjos and stuff that didn't really make sense for us. We took pride in NOT using distortion, or pedals of any kind. But in actuality, we all grew up playing garage rock. That's the kind of music we are the most comfortable playing. When we started stepping on the distortion and allowing Matt to dig in to the drums (he, by the way, is a VERY hard-hitting drummer, who possibly struggled with and sacrificed for the americana identity more than anyone), it felt very natural. At the same time, I had a stockpile of songs that didn't fit with this new sound and new direction for Cassavettes, and I just wanted to shed some daylight on them. I think that with a lot of songwriters, when you write a lot of material, if you don't get to air it out once in a while, it starts piling on your brain, like dirty laundry. You have to get it out some way in order to make room for new, fresh material. I was sort of going through that, and had a lot of songs getting backed up, and I just needed an outlet. So, they're different stylistically than Cassavettes -- maybe more "rootsy" and acoustic guitar-based than the band's new rock sound -- and they're just some songs I wanted to get out into the open.

Q. Is going solo harder because there are less people contributing or easier as there are less egos to deal with?

A. It's both. A lot of folks I've known who have gone the solo route go that way because they want complete control, and are tired of relying on a system with shared input. But while being in total creative control has its benefits, it can also be very isolating. The way I made this record, down at Lakewest Studios in West Greenwich, R.I., I was driving myself down from Somerville five nights a week. It's only an hour and a half down, but going both ways, that's three hours of alone time a day. You drive back after a session and think, "Man, I'd sure like someone to talk to about these songs," and that's natural. I found myself missing one of the core joys of being in a band: Having people to share successes with. And at the same time, band members also have folks to share failures with, which in turn, makes the solo thing all the more daunting. Instead of people going to see a show and thinking, "This band sucks," they'll put all the blame on your shoulders. It's my name on the record -- so all the glory and all the pain that come of this release are mine to bear, for better or worse. And that can be a very empowering -- albeit scary -- thing.

Q. Who (or what) were some of your inspirations when you were writing and recording these songs?

A. Thinking about the concept of a solo record, I looked back at what some of my favorite songwriters did when they went in a new direction. Did they try to sound different than their main band? That can be hard, because your writing style is still the same. And you shouldn't try to be something that you're not -- that's a recipe for disaster. So, I looked toward Bruce Springsteen's work outside the E Street Band, the early Neil Young stuff after he left Buffalo Springfield, the first few post-Beatles records (of which "All Things Must Pass" is clearly number one), Paul Westerberg's post-Replacements stuff -- that kind of thing. But I was also listening to a lot of music by Alejandro Escovedo at the time, Tom Waits, Ron Sexsmith, and the fantastic gentleman who produced the record, Todd Thibaud. Those records sort of gave me perspective of what vibe we were looking for with this collection of songs and where we should take them.

Q. You recently released your album at The Lizard Lounge. How was it playing music with your bandmates looking on?

A. The guys in Cassavettes are my three best friends. I can't think of any other people I'd rather be doing taking this bizarre sojourn into music with. They have been extraordinarily supportive throughout this process, and they've been involved, too. Mike played and sang on my solo record, and came up and jammed with the band on a number of tunes at the Lizard Lounge. Scott was one of the earliest cheerleaders of the solo idea. And Matt doesn't really care because he plays in 50,000 bands anyway. Ideally, this solo project is less "solo" -- I want it to be a collaborative effort, where everyone joins in when they feel it and people feel a part of the music. At the show, we had Todd up to sing songs, some of my friends from Girls Guns & Glory, and some other members of the musical family. Matt, for his part, distributed shakers and percussion to the entire audience during the last song, which was great to get everyone involved. It took that collaborative idea to a whole new level. So, really, there is no awkwardness playing in front of these guys -- they are part of it, as well.

Q. What are your top three songs on your solo album and why?

A. Early on, Todd and I identified "Okono Road" as perhaps the linchpin song on this record. We knew the album would likely be called that, and that lyrically, the song summed up a lot of what was going on throughout the record. Sometimes, when you put so much pressure on a song out of the gate, you're hard to please with the final results. But the guys playing on this record, which included drummer Milt Sutton and bassist Jeff St. Pierre, were such pros that they got a good take almost every time. It was me who was messing things up. "Til the Wheels Fall Off" is probably my all-around favorite track, which is bizarre, because it really came from nowhere. It's a very simple song, but sometimes it's the little background noises or sounds on records that you truly come to love. On that track, we had Adam Steinberg, this dynamite guitarist who plays with The Dixie Chicks and is an all-around pro, lay down some organ and slide guitar. During the bridge, his slide soars and it may be my favorite moment of the record. It's one of those things I listen to and say, "Man, I wish I did that!" Thankfully, it's on my record, so maybe that'll fool a few folks into think I did! Finally, "You Led Me Into Your Love" is the single biggest surprise of this record. We laid down 16 songs, and only kept 12. This song was close to my top choice to be cut, but Todd and Jack Gauthier, who owns Lakewest and engineered the record, kept saying how special the vocal interaction was between myself and MK Fabila. She is a great singer, and it really shines on that track. Plus, we got some amazing folk instrumentation from Mat Davidson, and the cut really took off. Lo and behold, the few folks that have had the record for a month or two almost unanimously have called that song their favorite. Guess I was wrong -- but it's the good kind of wrong. It always feels good to hear you have another good song, especially one you didn't realize was good in the first place.

Q. What lies ahead for Glenn Yoder, solo artist?

A. Well, Cassavettes is in the studio now, so my concentration is back on the band full-time. I'll keep playing in support of this record, and hopefully I'll be able to license a few of the tracks. Apparently, that's the name of the game these days, as far as making money back on your investment. I'm not sure if I'll be cutting another solo record anytime soon -- I certainly don't have the cash to do it now -- but if the dirty laundry starts piling up in my head again, I just may be back in the studio sooner than I think.

I'll let you know if we're able to shoot some hoops soon. That's what we're looking forward to.

Two compliments I don't want to soon forget

2009-02-05T11:09:00.000-08:00

Both are sort of quirky to me, they are rebuttals of what could otherwise be perceived as a compliment -- or a knock on the music.

The first one comes from my friend/college roommate Tim. I was telling him how an old acquaintance we both know came out to the show on Saturday night. The guy was all about it, really enthusiastic, and said to me, "You guys have come a long way!" I took this as a compliment. Tim, being the conspiracy theorist he is, thought this might have been an unintentional dig, like "Wow, you guys actually can play, I thought you sucked for the longest time." Tim's reasoning, and where his compliment comes in, is this: "You guys are always good, so I don't think of it as you coming a long way. I think, 'Wow, you were able to top the last effort, and keep writing good songs.'" This is why I love Tim.

The second compliment comes from a co-worker named Corey, who came out to see me play for the first time at my solo CD release show. His mere presence was astonishing, but I really like his review, which sounded quite genuine. "The CD is good, but for me, I was all about the live show," he said. Now, this is important for two reasons: 1) our live show is a work-in-progress with the solo band, so to hear that it was actually good, and better than an expensive CD process, is quite reassuring and 2) I usually feel the same way about acts I like. Especially when the live show is a little dirty, and there's hiccups that add to it -- not necessarily detract. "There was something about it," he said. "The spontaneity?" I offered. "Yeah, man," he said, with a huge smile. "I dig that stuff. It sounds real." That just about made my day.

After work, I head to Todd's to finish some overdubs (hopefully) before playing a solo acoustic show for the dinner crowd at the High Street Grill in North Andover. Wish me luck, on both fronts.

And while we're reminiscing about Tim and college, for old time's sake, check out these photos TD just dug up from the archives. These are from December 2006, when "It's Gonna Change" was released. If you don't think the four of us (though Mike is curiously absent from these photos) have changed in the interim between albums, the proof is in the pudding. No lie.

Visualize it

2009-02-03T19:17:00.000-08:00

Photos are now posted for the last couple months of shows, including time in the studio the first weekend and the second weekend, The Dive Bar (where we'll be playing again this Friday and next Friday), my solo CD release party, Rodfest, and a whole lot more. Check them out, foolz.

Cassavettes is back in the studio for mixing (fingers crossed) this weekend, and playing at The Dive, as mentioned, on Friday. It was a last minute, do a favor kind-of-thing as of moments ago, and I haven't run it by the dudes yet. But considering I know that everyone has work off to mix this weekend, I figured it wouldn't be an issue. I am also doing a solo thing Thursday night at The High Street Grill in North Andover. Possibly a Todd Thibaud appearance? We'll see.

Landing on our feet

2009-02-02T05:53:00.000-08:00

Oh my, Rodfest. Our third year was like those that preceded it -- filled with fun and wild antics. None wilder than a scene at the end of the night where Three Day Threshold closed with "It's Alright Now" and invited Mike and I to split a verse (video available via Exploit Boston). We did it, but Scott climbed on my shoulders onstage, where we proceeded to sway. However, he swayed the wrong way (forward) and flipped over my head into the drums. Nonetheless, after such a nasty spill and the room collectively holding its breath, he stood back up and gave a thumbs up and a HUGE smile.

Our set was well-received for the most part. Oddly enough, most of the comments I got were about how tight we sounded, when, in reality, we haven't practiced much as of late. I think the reason for this anomaly is two-fold: 1) We've been in the studio where you hear the individual parts better, and understand the songs more thoroughly -- and we've listened to the roughs a lot, and 2) We have been doing long sets at places like The Dive, which are intended to, and very well may be, tightening us up. Either way, I'll take it. We had a couple rough moments, like when Scott unplugged me, or when I started "I Come From the Water" and no one followed, or when my mic turned around, or, when we brought 3DT drummer Eric onstage to play a second drumset in a duel of the drums during "Shine a Light," and he was still adjusting to the song. But he got it, and the crowd loved it. They only got ear-splitting twice: After the dueling drum solos and during an earlier chant of "Matt Snow, Matt Snow, Matt Snow." They love the Big Red.

SET LIST: Lights On / Don't Get Me Wrong / Ordinary Girls / Golden Fleece / Seek Cover / Cedar / I Come From the Water / Shotgun Wedding / Shine a Light

After a late night, I flew solo in the studio yesterday. The other guys may have been a bit partied out from Rodfest, plus Mike and Matt had to work that evening. It actually was fairly productive. We had an incredible organ player stop by, who teaches at Berklee, and he laid down a few tracks. The key here is to make sure that anything he does isn't TOO good, really. We want it to still sound like the band, and not have another sound really stealing the show. But it definitely added a nice texture to a few of the tracks, and was well worth the reasonable price tag.

The real question from here on out is: Can we finish on time? It's looking fairly bleak at the moment, but we really just need to see what Todd can do at his home studio in the span of a few short days. Mixing starts (or is supposed to start) Friday and run through Monday. However, we've still got about nine harmony tracks to do (Mike will be doing most of his today, hopefully, and I'll try to get up there after work and knock mine out, too), some acoustic guitar (Todd will handle this, actually, as it is his "forte"), and some general adjustments. Most of the main vocals are in good shape, with the exception of "Nothing From You," which I gave an entire re-write since the original vocal was cut. The words were too, too bad (hey, it happens). I couldn't live with them. So, now it's more to the point and fits the music. I wrote them all in the studio yesterday and cut a fresh track, but might take another pass when the words sink in a bit more. But again, it all begs the question: Will we finish on time? I think it's still possible.

I'll take you out with some pre-Rodfest-related press clips...
Boston Music Spotlight (and again here): "Cassavettes, also good friends of ours who have had tons of success," continues Kier. ... Great bands for a great cause. Catch all of Boston's alt/country/bluegrass/honky tonk/rock favorites in one place as Three Day Threshold, Rogue Heroes, Girls Guns and Glory, Cassavettes and more take to the Paradise stage to raise money for scholarships in honor of Gregory Rodney Moynahan. A no-brainer pick for just $15 in advance or $20 at the door.
The Patriot Ledger/Taunton Gazette: The year’s Rodfest lineup will include Three Day Threshold – just back from another boffo European tour; Scituate’s own gift to country-rock, Girls Guns and Glory; that half-Boston, half-Texas band of alt-country dudes The Cassavettes; the South Shore-based rockers Rogue Heroes playing their last show ever; popular local club rockers Forgetful Jones; and an opening acoustic segment featuring South Shore rockers Shay’s Rebellion; hot young Scituate band 16 On Center; and the Hingham duo of Colin and Kyle Toomey.
Exploit Boston: Cassavettes' Texas folk? (Do they mean, we are Texan or the music is? Also, they call GGG, Girls Guns & GORY, which should be their Halloween name)
Boston Band Crush
The Phoenix
The Boston Globe

Putting on accents

2009-01-31T14:40:00.001-08:00

Well, the heavy-lifting is done. We spent yesterday at Todd's fine-tuning, and now we're back at Woolly for the first time in two weeks. This next part can be either the most fun, or the most challenging. What to add, and what not to add? What's too much and what needs just a little more?

Some songs sound done, and some sound far from it. With mixing slated to begin Friday, are we really going to hit the goal? Who knows... For now, the goal is to make a great record, not necessarily to make a deadline. So, we'll let this progress naturally from here on out. If something takes time, we shouldn't shortchange it. We will diligently let sounds develop. I like that.

After adding some guitar tracks, we've played around with various percussion today, with attempts by Matt and I, before Dave just took the lead when Matt departed.
Unfortunately, my judgment of sounds isn't good. I'm falling asleep at the studio, since last night was a late one, but I'm hanging tough. Rodfest is tonight, and it's impossible to NOT get up for Rodfest. I'll be all there, on stage. Might crash after. Maybe that'll be one of the surprises of the evening. Come witness.

Bear in mind that we've played Rodfest tired before -- two years ago, the band awoke at 5:15 a.m. to perform on the Fox 25 Morning Show AND I started a new job that day AND I still didn't nap AND we still rocked. So, yeah, I guess you could say I accomplished everything on my bucket list.

Rodfest rolls around again

2009-01-29T09:58:00.000-08:00

Hello faithful friends,
This Saturday, Jan. 31, just may be the best day of this young year. It is the 7th annual RODFEST at the Paradise Rock Club -- a night of good-natured debauchery and relentless fun. The evening features some of our personal favorite bands and closest friends: Three Day Threshold, Girls Guns and Glory, and the last-ever show by old pals Rogue Heroes. Plus, starting at 9 p.m., there will be acoustic sets from Sixteen on Center, Shays Rebellion, and Cassavettes' favorite Colin Toomey.

This is one not to be missed -- and is a definite sell-out every year, so get tickets in advance or early. All proceeds will again go to the Greg "Rodney" Moynahan Memorial Scholarships. Full info on the charity here.

Make sure to get there early: Cassavettes take the stage at 9:55 and keep the party moving until 10:30.

Get your tickets here TODAY ($15 advance, $20 day of)!

On another note, for those of you outside of Boston, fear not: Cassavettes is hitting the road for the entire month of March (hopefully with advanced copies of our new CD in tow). Upcoming highlights include opening for Superdrag at their CD release at Exit/In in Nashville on March 14, a hometown show on March 17 at Rubber Gloves in Denton, Texas, some fun at SXSW, and more. Keep your eyes on our MySpace for complete tour dates as they continue to come together.

Also, Cassavettes singer/guitarist Glenn Yoder's solo CD, "Okono Road," was released last week. Pick it up here.

Breaking up is, well, you know

2009-01-27T16:14:00.000-08:00

I feel like this is a pivotal time for music. Not just for us as we embark deeper into that big dumb chasm of music hopes and dreams, but more so, for a lot of the bands that have been important to us over the years.

To be specific, it's like everybody's throwing in the towel at once.

Today I went from reading the official (and terse) email from Rogue Heroes that Rodfest is indeed the end for them to reading a post from our D/FW friends Black Tie Dynasty saying that they're cooked, too. There have been rumblings of another big breakup, but I'm not going to use this blog to break the news for anyone who isn't ready to go public.

Now, to be fair, neither of those breakups is extremely surprising. The Rogue Heroes guys have made no secret of the fact that hope has gotten dim, and the fun has left. That's when you know a band is officially through, after all -- when the fun doesn't return. They've been talking for months of a break-up. Similarly, I had suspicions that Black Tie Dynasty was close to the end last year at SXSW when Blake told me they were on the rocks with their label. I believe Cory even solicited for a new label onstage that night. I had high hopes that they'd go it alone for awhile and come up right side up, but that was a bit far-fetched for a band that had already gone through one major transformation in sound and image.

To me, these bands represent two familiar stories in the music business, which are all too common. I'm speaking only from observation as a friend and fan rather than a place of any authority, but this is how I see things:

- Black Tie Dynasty transformed themselves from a pop-rock outfit known as Moxie to a New Order-loving 80s secondwave band, and were rewarded accordingly for stepping into the wave. Obviously, such a risky move can either pay off big (like when they ruled the radios in north Texas, got national exposure, and ended up on a billboard in downtown Dallas), but it can also be short-lived and rather abrupt when it ends. As I heard it, the label put all their hopes on them, but I read too many reviews that said BTD's success hinged on the popularity of the next Killers record. When the Killers attempted a Springsteen sound, their next-of-kin were left out in the cold. BTD's label split obviously, though I don't know nor care to know any of those details. Again, I'm just calling it as I saw it. There's nothing wrong with a band being part of a wave, but sustaining that ride is the hard part. They had their success, and then they were thrown out on the shore. That's a tough thing for a band to overcome, no matter who you are. To have accomplished what they did and gotten to tour and touch people lives in the way that they did is truly a lucky thing.

- To me, Rogue Heroes got left behind. That's no one's fault, I don't think, but it is an unfair truth of music. It's competitive. They grew up best friends (and musical collaborators) of the guys in Girls Guns & Glory, and maybe always fancied themselves as the next to hit. When GGG moved into the spotlight (and with authority, lately), I think it became harder to see themselves as competitive. It probably hurt. No one told me that, that's just how I read the situation. I think they also lost sight of the light at the end of the tunnel, and the dream seemed all the more distant. Music moved from the main focal point to secondary. They are living their lives and have bigger aspirations. That's how most bands wrap things up, and there's no shame in that. It's actually pretty smart.

I wonder how things will end for us. They almost have a couple times already, but I think we all are too intrigued to find out what happens next. But when that feeling leaves, who knows?

For now, here's a final farewell to two great bands who we have been lucky enough to know.

Boy for sale

2009-01-24T13:33:00.000-08:00

The recording session scheduled for Cassavettes today couldn't go down because Todd hasn't made the headway on the tracks he had initially hoped to. So, alas, all I have is solo news and sales pitches for you. Sorry.

Here is a testimonial I apparently wrote for Jack Gauthier, who produced my solo record, that I found posted on his website:

Glenn Yoder
"Jack Gauthier is a confident fellow. He doesn't have that asshole-confidence, but instead exudes that pure type of confidence that one only gains through years of experience behind the boards. He knows his equipment back to front, and as I was told in advance, he goes the extra mile. Not to mention he has a cutting sense of humor that keeps the atmosphere light, yet focused. Thus, I have confidence telling you that Jack will give you what you want in a producer and/or engineer -- someone who really cares, who listens, and who will keep you in stitches. That's my testimony to Jack. Now hopefully he doesn't let it go to his head. We don't want him developing asshole-confidence."

Charming, eh?

If you're interested in buying the solo record, you may now do so here...

Finally, I did an interview with Spare Change News yesterday, where we talked solo record and Cassavettes. Keep your eyes glued to this blog for the full text soon.

Last night was the most incredible night of my life

2009-01-23T09:32:00.000-08:00

OK that's not true. I just wanted to quote Wayne's World. But it was a good night -- fun hanging with friends. In addition to the backing band of Kiggans, Jeff, and Seth, I had Chris Cerrato join us on piano, Mike came up and played a number of songs with us, Sarah sang and played shaker, and even Todd joined us during my infamous switch to piano on "Home." It was a barnyard jam. Also, special thanks to Matt for passing out the shakers and percussion instruments to the crowd, it made it all the more of a jam. Communal experience. Together we can. The theme of this week, right? That's what it was like.

It's sort of weird to have to talk about stuff onstage, without playing off Mike and Scott, but somehow we still did. We made jokes back and forth since they were sitting close by. And every time I said something dumb (which is frequent of course), you could pick Scott's laugh out of a crowd of thousands (not that there was one, of course). But the crowd was all friends, and that's the special thing, even though there were a few notable absences. It's all good. It was a rushed effort to get the CD out and the show turned out exactly as I expected. What more could you want than to be among friends during such a special occasion? It's a good feeling.

SET LIST: The Rain's Not Far Behind / Okono Road (feat. Chris Cerrato) / Just Like You / Til the Wheels Fall Off / A Thousand Ways (feat. Sarah Blacker) / Like Secrets Beneath (feat. Chris Cerrato and Mike McCullagh) / Green & White (feat. Chris Cerrato) / Home (feat. Todd Thibaud) / It's Gonna Take Time / Alone / Broken Beaten & Blue (feat. Mike McCullagh) / Give Me a Moment (feat. Chris Cerrato and Mike McCullagh) / You Led Me Into Your Love (feat. Chris Cerrato and Mike McCullagh)

Creamer's dream

2009-01-22T11:21:00.000-08:00

This, via Matt, is a post that just rips Creamer's looks to shreds, especially in the comments section (who knows why Matt was perusing Barstool Sports?). Initially, I had resisted posting it, as I found it offensive and pointless, but Creamer, who found it on his own, called it "priceless" and was angry that I didn't send it to him. So said Creams: "Stuff like this just rolls off my shoulder." Therefore, I perpetuate the reach of these rude, anonymous commenters by re-posting it on this here blog.

Funny story, though, this photo that they are critiquing was taken by Bill Brett for my section of boston.com. Creamer, being a man about town, often shows up in Bill's nightlife shots (and as he often mentions, is featured with Theo or Wyc Grousbeck, as he is above). Anyhow, Bill ALWAYS mislabels Creamer as "Bill Janovitz, Buffalo Tom singer" -- which is not fair to either of them (though Creamer delights in this, and told Janovitz they should "switch wives and see if they notice"). I have dutifully corrected this error time and time again. Then, last week, the photodesk here gets angry that Bill Janovitz keeps getting mislabeled as Michael Creamer online. I explain that he is not Bill Janovitz. Are you sure? Yes, I'm sure. I talk to the dude every day, he manages our band, and, oh, this kind of thing just rolls off his shoulder.

Going it alone

2009-01-22T09:40:00.000-08:00

Well, not really. I'll have a full band, as I did at Toad a few months back, but this is my solo CD debut. Oddly enough, the idea of doing this makes me far more nervous than any of Cassavettes' biggest shows. This band only practices once before each gig, whereas Cassavettes obviously knows what's going on. Then again, these guys are quick to pick up, so who knows why I worry? Anyhow, it's at the Lizard Lounge tonight. Ryan's Smashing Life had this to say:

Cassavettes are one of our favorite Boston bands of the last few years - so it's only natural we would be all over the talented Glenn Yoder's solo debut - Okono Road, released today! On the new record, Yoder shines like a star and in many ways transcends his prior accomplishments. On Okono Road, Yoder pays homage and affection for the great American song.

Tracks on Okono Road are original, modern takes on classic song forms. The spirits of great musicians (both past and present) are heard in the background on these recordings. Yoder lists George Harrison, Neil Young, Willie Nelson, Hank Williams, and Bob Dylan as inspirations. On Okono Road, the singer-songwriter dabbles (dwelling for just a bit with) traditional folk, the blues and country-western, but Yoder's strongest work here reflect great indie rock singers who also used the previous styles as stepping stones: Elliott Smith, Ryan Adams, Paul Westerberg, Evan Dando, and Wilco's Jeff Tweedy.

Everyone who attends Glenn's CD Release Party tonight at The Lizard Lounge in Cambridge, will be given a complimentary copy of Okono Road. Glenn will be supported on stage by members of Girls, Guns, and Glory and Left Hand Does. This one, friends, should be a blast!

Let's hope so! If I don't toss my cookies first. Just kidding (half). The City Pulse also has a small item.

Little time

2009-01-17T15:04:00.000-08:00

Lots going in Cassavettes land. Not a whole lot of time to talk about it.

Mike and I have finished most of the vocals, in the 1 1/2 days at Woolly. Not too shabby. I'm liking most of the sounds we're getting, and things are really moving along. We just have to finish one song tomorrow, then start piano and harmony overdubs. Definitely in good shape moving forward.

The band played The Dive in Worcester again last night. These shows every month just keep getting better. It's always a good time, with our favorite bartender working the bar, so we shall keep it up. It's good to have a place to play that's not too far, where you can do a three-hour blowout, and tighten your skills, in front of a totally different audience. It's a really good time. Last night, I was struggling with my voice, after singing at the studio, then doing a long set. I had to preserve for today, so I took the easiest path on a few songs and stayed away from the alcohol. That was a good call. I was definitely more fresh today for having done it.

SET 1: Ordinary Girls / Nothing From You / Don't Get Me Wrong / Lights On / Golden Fleece / The Nadir / Madeline / Research Blvd / Whitewashed / Debts / Someday Darling / Seek Cover / Marie / Carolyn, Don't Leave Like This / The Devil's Arms

SET 2: A Hard Rain / Valley of Gold / Six Hours / Bad Luck / Like Secrets Beneath / Cedar / I Come From the Water / Shotgun Wedding / Shine a Light

The week ahead is looking crazy. I've got to get my shiz together for the big solo show on Thursday, my CD release at the Lizard Lounge. Already some press is filtering in... Sophia, the wife of Mike Epstein of The Motion Sick and fellow blogger, wrote this nice post on Boston Band Crush (and included a song):

Glenn Yoder, of Cassavettes fame has gone solo! No worries about the Cassavettes just yet, as they are still very much up to really great things. Glenn is releasing solo record, which he claims has been a long time coming, entitled Okono Road. The release party is at the Lizard Lounge in Cambridge on Thursday, January 22. His back up band for the show includes members of Girls, Guns, and Glory and Left Hand Does. Bonus: everyone that walks through the door gets a free copy of the CD.

The record is alt-country, singer-songwriter, reminiscent of Neil Young and Ryan Adams. Glenn has kindly provided us with an mp3 for the song "Til the Wheels Fall Off" which reminds me a bit of Okkervil River.

That's it for now. Perhaps I can check in tomorrow, if not, see you on Thursday hopefully!

Patience: a virtue?

2009-01-12T08:40:00.001-08:00

So they say. And Creamer and Todd and seemingly every mentor this band has preaches patience like the gospel. Yes, patience is important, particularly when you're chasing a dream that often requires more luck than talent (unfortunately). Waiting for that luck to kick in takes all the patience a band has.

Now, I know that this record is going to be good. We all know that. We waited long enough to do it, so they songs are primed and ready to go. We also know that it takes work and time in the studio in order to make it as good as it deserves to be. Patience, not rushing.

I can have this patience when I need to (for example, booking this tour, you absolutely must have patience since returns on your emails on one response for every 25 sent out). However, I'm not built like that. I like to work hard and fast and soon see the results of my labor -- that's the journalist in me. But also, if you're really putting everything you have into your dream, shouldn't you be putting it all in ALL THE TIME? Nothing wrong with hard, constant, consistent work.

This is why it bothers me to some extent that Creamer told me I need to remove the word "rush" from my vocabulary (oddly enough, I hadn't used the word when he said that). He has a different, albeit effective, way of working than yours truly. He is an old pro, and knows when to push hard and when to lay back and watch the returns roll in. I recognize that, and yet I like to really strike while the iron is hot, or rather do everything I can to put myself and the band in a position to succeed at all times. Is it really wrong that we have these two divergent styles? I don't think so.

Back to the record: Yesterday I wrote that perhaps we'd have to make some decisions sooner rather than later. The band seems to agree. Todd seems to disagree, however he hasn't been concrete on a backup plan. I suppose a lot of this will be worked out soon, when we discuss scheduling with Dave. We know we need at least one more day of studio time for instrument overdubs (piano, organ, etc) and of course, the vocal overdubs. Maybe we will have an extra day of guitar overdubs, too. It all goes by the budget.

But we're rushed by the premise of having this record in time to depart for touring on March 6 (having copies is something we may have to forfeit, as we don't want to be so shortsighted that we don't give the recording process its due diligence). We're rushed by budget restrictions, Dave's limited time, etc. So what's wrong with working quickly and well?

Todd says that we may have to give up on the idea that the record will be done and available in time for the tour. I think that's the opposite of rushing, that's quitting. Who's to say so early that we can't accomplish both? We have A LOT of time left, including 2-3 weeks between finishing vocals and mixing (though if we do need to do extra recording days, it's tough to book the necessary time).

This is what I'm saying: I don't think I'm rushing these decisions, though I do think it's good to keep tabs on them so they don't sneak up on us. I think I'm trying to get us to go at a comfortable and responsible pace, while still getting what we want and need from this record. Maybe that's asking too much. Maybe I'm too new to this to know how it truly works. We shall see.

Pulling the plug

2009-01-11T11:37:00.000-08:00

Question of the day/next couple days/week ahead: When do we decide to pull the plug on a few of these songs?

It may have to be sooner rather than later. Cutting songs is always painful, but it's quite necessary to ensure a fluid, compact record. Right now, we've still got 14 songs and Todd has stated his intent to get guitar tracks done for all 14 before we make any cuts. Unfortunately, that seems less and less likely.

When all is said and done the record will most likely be 11-12 songs, but could be as short as 10 songs. We have five songs basically completed through guitars (all generally regarded as "keepers": Lights On, Cedar, Nothing From You, Don't Get Me Wrong, Shotgun Wedding), and we are forging ahead on the rest. We have a day and a half to finish them. I firmly believe that we can finish 11-12 tracks by the end of the day tomorrow. Not 14. No way. And Todd, while he is producing this (and his advice is valuable and should be taken as exactly that: advice rather than God's will), is not paying for the studio time. Furthermore, we actually cannot book more studio time, even if we wanted to or had the money to do it.

Dave is tied up the next few weekends. He will not be the engineer to record vocals. Todd (and the band) feel that we can record vocals with someone else, but should not record guitars without Dave present. That is Dave's main strength, and the primary reason he was selected for this project. He's a guitar expert. So, without Dave able to record it, it really only gives us until tomorrow evening to finish these guitar tracks. And again, I don't think 14 is possible without some kind of miracle.

What to do? It's time to take a hard look at the songs we've got and what can go.

The wall

2009-01-09T10:56:00.000-08:00

You pay the price for seeking perfection. Quite literally, in this case. Two days into our second 4-day weekend at Woolly Mammoth and we're hitting the wall a bit. Not that the performances aren't good -- Mike has been playing quite well; I think it's me that's holding us back as we try to get the guitar jams going. But these things take time, and it's really taking A LOT of time. So much that I'm wondering if we'll get this record done in the allotted time. We have a fairly tight budget, but we also want to ensure that this record sparkles like no record we've done before.

This is how it is: We have four days booked to get all the guitars recorded. We have 14 songs right now, each has two parts, which would means we have 28 guitar parts to cut in four days. Yesterday, we cut four. At that rate, we would need SEVEN days in the studio to do it all. The question is, do we start trimming songs this early in the game? That would get the songs down to 11-12, or 22-24 guitar parts. Or do we push through guitars faster? Or, most costly of all, do we bite the bullet and pay for a lot more time to do guitars? Unfortunately, it's probably the ladder, because we don't want to let fiscal considerations ruin a record (again -- we've been through that before).

Luckily, it's still early in the game. We have the rest of the day to see where we get, and we'll know a lot more after Monday (our last day here this weekend, since we have tomorrow off). By mid-Monday if things aren't looking good, we may have to book more time and possibly think about doing all the vocals at Todd's house. I'm not completely opposed to that line of thinking but Todd seems to be, due to the superior equipment of this professional studio.

Either way, some big decisions may lie ahead, and we have to stay on track, both financially and musically. Hopefully those two align.

Wild side

2009-01-05T09:54:00.000-08:00

Today is Scott's day under the microscope. I'm listening to him track "Shotgun Wedding" right this moment. So far he's knocked out everything with relative ease. Should he continue at this pace, it's possible we could try a couple maybe songs, including one or two I've written here at the studio. Unlikely, but possible.

Matt, believing his work is all done, showed up a couple hours late today. Actually, his work is done -- unless he does some percussion or we do another song, of course. He must feel good to be able to relax. But he always looks relaxed.

After today, we'll really have the basics down and can move onto to the work of Mike and I. That starts Thursday and runs through this weekend, with Saturday off. We're trying to nail down how long it'll take in total to do guitars and lead vocals. The rest can be done at Todd's house (mostly backup vocals and tweaks), before returning for mixing. So far, so good -- we're on track.

To get a preview of a song we're laying down but haven't released yet, you could consult this video by Casey from our holiday show a couple weeks back at Church, if you want poor quality and a hacked-up solo compliments of yours truly. But you do get to see Shiggins dance and Scott wear his hat.

Not too impressive, but a preview nonetheless.

To kill time in the studio, we've done all sorts of things: read the Onion, books, and whatever else is handy; talked about Uncle Harold Ramis and other nonsense; played the many instruments available; longed to play basketball on the snowed-over court next door; teased Todd; been teased by Todd; and talked nonstop about "Walk Hard." We've searched unsuccessfully for a few videos of classic SNL skits (Leevi's three-legged jeans; Tracy Morgan as Tito Jackson), but to no avail. If anyone can find them, please send them along. It would be of great help.

Also, just found this animation by Mike's wife Julie. Can't believe she never told me about this -- it's great! Still waiting for her project of a bear riding a bike through the seasons, set to (you guessed it) "Seasons." That's sweeeeet.

Studio time

2009-01-04T11:28:00.000-08:00

The day of reckoning hath come. Greetings to you all from the studio on the third day of our first block of tracking at Woolly Mammoth studio in Waltham, Mass.

And as this is the first post of 2009, why not start it off with the words of our own Mike McCullagh, in resolution form? He was asked by the Globe about these resolutions in the same manner you may recall that Matt gave his thanks during the Thanksgiving season.

The real tradition of New Year's resolutions is that most everybody makes 'em, and almost nobody keeps 'em. So it's moderately courageous that folks from the Boston music community - bands, booking agents, label poobahs - agreed to tell or e-mail us their 2009 resolutions. Pointed and poignant, funny and focused, they're essentially published promises. Now that's pressure.

"I personally have never once kept a new year's resolution for more than a few days, but I go on making them. I suppose I always think I will surprise myself with a previously unused willpower. For tradition's sake, I resolve, in the coming year, to do everything in my power to become just successful enough in music - whether by improving my guitar playing abilities or becoming much more handsome - to quit my day job. Failing that, I will commit myself to becoming a very proficient Internet poker player. In all cases, I resolve to resign permanently from the service industry. I should also stop smoking, but let's not get ahead of ourselves." - MIKE McCULLAGH, singer-guitarist, Cassavettes

Now, let's get down to the nitty-gritty. As you'll recall, we tracked three songs -- "Madeline," "Lights On," and "Golden Fleece" -- on Pearl Harbor Day here at Woolly. We are about to listen in a few moments to whether those recordings have stayed tried and true. Starting on Friday, we tracked 11 other songs: Cedar, Seek Cover, Don't Get Me Wrong, Someday Darling, There's a Reason, Shotgun Wedding, Six Hours, Valley of Gold, Ordinary Girls, Nothing From You, and Like Secrets Beneath. The last of which, "Nothing From You" (name subject to change), we just finished this morning, along with some touches to "Shotgun Wedding." Now we begin the semi-arduous listening process of determining whether the basic tracks we've cut so far will still seem fresh at the end of the rainbow.

Matt has been an absolute warrior so far. In the early stages of recording, it's all about the drums and making sure they really stay solidly on the tempo. Matt has been put through the fire and pushed around countless times already, and yet he's still smiling. Not always, but for the most part. He hasn't lost his head at anyone but himself when he's frustrated, and usually, a little frustration works out to an incredible take. Dave and Todd also are quite good at being gentle, but firm in their criticism.

Now, as we listen back to these tunes, we'll need to determine whether time dictates for us to record a few maybes: songs that aren't in our regular setlist, but we could try and if the right take comes out, it could sneak on the record. Not sure if that's going to happen, but we'll be here through tomorrow, so we'll see what happens.

Creamer is here bothering everyone (Creamer, that's a joke, in case you read this), so I should probably get back. But so far, so good on LP2 from Cassavettes. I'll update soon.

Good memories

2008-12-31T07:54:00.000-08:00

A quick check-in during this busy, bustling holiday season! Mike is stuck in the bayou, so it's a good thing that we didn't book another New Year's show (though it was not really in consideration after last year's fiasco). But let's not harp on that.

Now is the time for looking back fondly and we can reflect on 2008 as a good year that brought us many good memories -- and perhaps most important in the long-term, a trusty manager. We also headlined the Paradise (and played there with the Toadies!), played New York City with Letters to Cleo, and opened for the Allman Brothers and Bob Weir & Ratdog at the Comcast Center, lest not we forget gigs with Superdrag in Philly (we were named one of Philly's top live shows for it) and Dr. Dog in Harvard Square. The band also recorded and put out a live album, "Animal Friends." Mike got married! Personally, I finally recorded my solo record (which I just picked up yesterday -- I am holding a CD release party at the Lizard Lounge in Cambridge on January 22). So all in all, it was a great year. I hope you all had good ones, too.

As far as 2009 is concerned, it'll be good: we're starting a new record this week, planning a tour for March (starting that today, though a few dates are set), and just hoping to take that next step. Let's check back in a year on that one.

Anyhow, to wrap it all up, why not go with an interesting little item out of Ryan's Smashing Life. During an interview with Jesse Malin -- conducted before our show with him in November, but posted now -- Malin makes a little mention of the band (we didn't realize he even knew our name). And Ryan adds in a humorous "editor's note." Enjoy!

RYAN: That's great. What kind of stuff do you typically find yourself drawn to?

JESSE: For now, there’s a lot of great stuff I like. I love Wilco and Spoon. Like I said before, The Hold Steady. Just a lot of great stuff that continues to come out. Music’s in a great place. The industry might be all fucked up and scrambled, but I still think people are creating great stuff. I like stuff that’s really expressive and about freedom and individuality, and also characters that are on edge—that aren’t afraid to go down with the boat. Like the character in One Flew Over the Cuckcoo’s Nest. I always loved Tennessee Williams’s novels and his plays, from Streetcar to Cat on a Hot Tin Roof. Things that are tragic but that have hope. Cassavettes movies—the band that’s opening tonight, Cassavettes are their name—characters that are human and real, and even though there’s so much darkness around, there’s still some light at the end of that tunnel that keeps you going. “All right, well, we’ll stick around for a while on this planet and make the best of it.”

Editor's Note: Boston's Cassavettes are an incredible band.

Incredible? Well, gee golly. Thanks Ryan! Happy New Year to all!

Mountain men

2008-12-21T18:00:00.001-08:00

So after some light debate over driving conditions, the band decided to drive up to Burke Mountain, Vermont, yesterday for our gig at a ski resort. These ski shows are sweet for a few reasons: 1) Vermont is cool to look at, 2) they pay well, 3) they put you up for the night, and 4) they supposedly give you free skiing, though we have yet to make good on that offer. But we just may get our chance yet: before we played a single note last night they offered to bring us back for back-to-back days with skiing and accommodations. Got to like that, eh?

The drive wasn't terrible yesterday. It was cold, and snowy, but the roads were good. What would be a three-hour drive stretched out to nearly four and a half, but we weren't rushing, either. Upon arrival, they fed us and treated us kind, despite a grueling load-in haul up two flights of stairs. My only problem was that apparently the show was heavily promoted, yet no one really showed. A couple families were there, and were good to us, but it wasn't like what was promised. Either way, what are you going to do? We played a solid two-hour show with very few mistakes, and just had fun throwing out tunes.

At the end of the set (or what later proved to be), I invited one of the audience members to take a guitar solo. He had auditioned at Berklee earlier in the day, and he led the other guys through a 10-minute blues jam. He had skills. But when I went to finish the set, he kept going. And that's how the night ended. Eventually, all the members of the band were watching other people playing our equipment, including the sound guy on lead vocals. Again, what are you going to do? That's just the kind of night it was.
SET LIST (from memory): The Nadir / Research Blvd / Someday Darling / Madeline / The Devil's Arms / Lights On / Don't Get Me Wrong / St. Anthony / Trouble From the Start / Seek Cover / Six Hours / Carolyn, Don't Leave Like This / Golden Fleece / Ordinary Girls / Debts / I Come From the Water / Cedar / Like Secrets Beneath / Long Blues Jam with dude auditioning for Berklee

Anyhow, the drive back to Boston today was the worst part (actually, the worst part was that I had to work upon getting back). The roads were sludge, people were crashing, we were sliding, and it took over five hours with no real stops. Not exactly the charming winter wonderland that Vermont can be.

The snow must go on

2008-12-20T07:33:00.000-08:00

And so must the show. And it did. Unfortunately, it was a bit closer to Creamer's estimate of 40 folks than my high hopes of people trekking through the snow, and we had to drive about 15 mph there and back, but we had a good time nonetheless.

Amazingly, Age Rings commuted all the way up from Hanover to play a solid show, so we slid over and gave them the last slot. The flip side was that I personally wasn't quite ready to get onstage that early, so my performance was sloppy, to say the least. But Tom Jewitt wandered onstage in his underwear during our set (and I THINK he attempted a rap over "Madeline"), and after that, no one seemed to notice any drunkenness from us. The coolest part of the set for me personally was when I was using a beer bottle to hit the stops in "Cedar" and looked over and Scott was doing the same thing with a drumstick. Serendipity?

Anyhow, I can't imagine a group of bands more fun than these guys. Not only are they some of my favorite groups around, but they are just all-around nice guys. Quixote is a young band on the rise that we'd like to spend more time with. Rogue Heroes are a destructive mess of men. And Age Rings is pound-for-pound the best band in Boston, by my count anyway. That's how a holiday party should be, though. A night well-spent with good music and good friends as the snow falls outside and keeps away more of your good friends. OK, we could have done without the keeping away part, but all in all, what more could you ask for?

SET LIST: Voodoo (partial a cappella Godsmack cover) / Lights On / Don't Get Me Wrong / Carolyn, Don't Leave Like This / Madeline / Golden Fleece / On the Lam / Seek Cover / Cedar / Shine a Light (feat. a terrible, quiet mouth harp solo by Casey Hackett)

For a video of this show, consult this later blog entry.

Who cares about snow?

2008-12-19T08:35:00.000-08:00

It's not snowing now, but I'm afraid to tempt fate by taunting it. In one of those little bizarre twists of bad luck, the year's first major snowstorm happens to be prepared to fall on the night of our last major show of 2008. They are expecting over a foot here in chilly Boston, and we are expecting to rock tonight anyway. Who cares? Creamer fears only 40 people will show up tonight, but I have faith. We'll see who's wrong. Unfortunately, he's an "expert." Whatever that means.

Here's what the Phoenix says about the show in their 8 Days a Week feature (ironically, that's how many days Matt works per week. Coincidence? I think not):

WRECK THE HALLS: CASSAVETTES + AGE RINGS + ROGUE HEROES + QUIXOTE

Fresh off playing a Letters to Cleo show at the Bowery Ballroom in NYC, salt-country rockers CASSAVETTES return home to headline one juggernaut of a holiday bash that includes AGE RINGS, ROGUE HEROES, and QUIXOTE, at Church, 69 Kilmarnock St, Boston | 8 pm | $10 | 617.236.7600 or http://www.churchofboston.com

Either way, we're going to have a great time. We're playing well right now and sounding good and ready for the record. Are you ready? F the snow. Come on out and spread some holiday cheer.

A joy to get

2008-12-16T08:09:00.001-08:00

Years ago, when I was just starting at The Globe, I wrote an email to a columnist I admired. He had written a particularly poignant piece and I just wanted to tell him how it resonated with me. Sure, it was a bit strange being so honest about rather personal feelings with a stranger, but at the same time, I felt he would understand. After all, he had connected with me through his writing; perhaps I could connect with him in my praise. Anyhow, I'll never forget the response I got; I thought it was so elegant: "Hey Glenn, that's an extremely thoughtful note, and one that was a joy to get." Obviously, there was a bit more to it than that, but I kind of liked the simplicity of that message. It was neither judgmental for my stepping-out-on-a-limb note, but also appreciative.

Now the roles have reversed, and the band is on the receiving end of a note of praise. This floated into the email from someone who saw in NYC on Thursday:

Was great to meet you guys at the Bowery! I admit I came for LTC but you guys were a great surprise. I bought both the CD's you had there and have been playing them nonstop. I also downloaded "It's Gonna Change" again on iTunes because my fracking CD drive crapped out and I couldn't get it transferred to my iPhone.

I used to be a college radio DJ for a few years and I think I have a pretty good ear. You guys are gonna make it.

I considered stealing the columnist's response, as to convey the proper message that I certainly couldn't, but alas, I spoke it from the heart. What an amazing note to get, though. And yes, it was a joy.

Top awards

2008-12-12T15:28:00.000-08:00

I've always said that awards don't mean much to me. If the audience cheers, isn't that enough? Who needs something that basically says a panel of folks like you? Awards are nice, but they are mere decoration and acknowledgements of other successes. Nonetheless, if I had to choose, the one award I really want for the band is something acknowledging our live performance.

Well, this is a start: Bag of Songs, a Pennsylvania-based music blog named Cassavettes one of its "best live shows of 2008." Considering I doubt they were at our show at The Fire (since no one was there), I'm guessing they saw us play with Superdrag (who also makes their Best of list) at Johnny Brenda's in April. And that was a good show. Remember?

Something to write Cleo about

2008-12-12T13:16:00.000-08:00

Playing music is fun. I mean, yes, it's work and it can be disheartening and even angering sometimes. But the point of playing music -- the point of seeing music -- is to have fun. When music stops being fun, it shouldn't be made any longer, plain and simple. That's not a particularly large concern of mine.

We're having a lot of fun. Getting up in front of the crowd last night, I had fun from beginning to end. Whether it was playing in front of 500 people last night in New York City, or even the 10 or so we had the night before in Worcester, it's just exciting to go up there and play. In some ways, I'm so comfortable onstage at this point that it almost is like I'm playing music for the first time, all over again. I no longer think about what I need to talk to the crowd about or anything like that, it just all kind of rolls off my tongue and often doesn't make sense. That kind of excitement is refreshing. As for the music, it doesn't stop being fun playing with your friends of course. We played pretty well the last couple nights, not our best, but far from our worst. A couple mis-steps aren't going to keep me up at night (that is, presuming I ever sleep at night again -- we got in at 5:30 or so this morning).

More than most gigs, I love the opening slot for a band people are legitimately excited to see. I know a lot of bands compete for these gigs, but few actually relish them -- they may get the inaccurate idea that the audience is only interested in listening to the headliner. Winning over a crowd on the road can be the BEST FEELING in music -- it's like beating Starfox64 for Scott or something. That again isn't to say this crowd was bowled over by us, but the general reaction was positive. Some folks near Fritz were anxious for us to finish so that Letters to Cleo would come on. Hey, if I were in that person's position, I'd probably feel the same way! We were just out there, hoping to entertain folks, have a few laughs -- that kind of thing. And you know what? That's fun. And that's the name of the game.

SET LIST: Lights On / Don't Get Me Wrong / Carolyn, Don't Leave Like This / Madeline / Golden Fleece / On the Lam / Nothing On You / Cedar / I Come From the Water / Shotgun Wedding / Ordinary Girls / Shine a Light

We actually ran quite a bit under our allotted time last night, so we could throw in a couple extra tracks. Luckily, we had played the Dive Bar in Worcester again the night before and done a similar two-hour set last weekend. So we were on our game.

The Dive Bar was not as full as the last time, and they didn't pass the hat, but I did eat a really good hotdog and we had some fun with the locals, discussing "cut women and how to get 'em." What more could you ask for from Worcester?
SET 1 (by memory here): Nothing on You / Research Blvd / Golden Fleece / Trouble From the Start / Madeline / Carolyn, Don't Leave Like This / Seek Cover / Don't Get Me Wrong / The Devil's Arms / Bad Luck
SET 2: Lights On / The Nadir / I Come From the Water / Someday Darling / Cedar / Shotgun Wedding / Shine a Light

Next weekend, it's Cassavettes' holiday bash with Age Rings, Rogue Heroes, and Quixote at Church. Are you in? Do you need more incentive? OK...IF we get an encore at our holiday party next Friday (if, that is to say, not to be presumptuous and just expect an encore), I declare that we will do a long-standing cover that we have never unveiled. Perhaps we'll even get some on-stage acting. Hopefully the cover doesn't separate us from the crowd too much, if you know what I mean. So, there's something to look forward to.

Entourage barrage

2008-12-09T07:13:00.000-08:00

I feel like I haven't had a good sleep in days. Last night, I exercised for the first time in a week -- and got cut off after 15 minutes. These aren't complaints; rather, they are mere side effects of the band's busy life over the past weekend. Not only did I work six days last week, but I went straight from work to a gig Saturday night, and we haven't stopped since. Sunday, we recorded, then Matt and I stopped by the Boston Music Awards. Monday, it was work then fixing the van then schmoozing at the Letters to Cleo reunion gig in Boston (we're playing the one in NYC). Today, it's work, then practice. Tomorrow, it's work, then a gig in Worcester. Thursday, same deal, but the gig is in NYC with Letters. This is good. Busy is good.

The show on Saturday was well-received by 3/4 of the band. Since it was at Scott's place of employment (sort of), he was inclined to declare he'd never do such a show again. Apparently, we were bothering people, according to him, which was quite the opposite of what I saw. To me, it was a chance to hone our chops and make a little cash. Mission accomplished, end of story, in my opinion. Anyhow, we'll see if it happens again. It wasn't announced and it wouldn't be next time, either. It's just something to keep us in playing shape.
SET 1 (off the top of my head): The Nadir / Research Blvd / St. Anthony / Carolyn, Don't Leave Like This / Madeline / Golden Fleece / Seek Cover (debut) / Trouble From the Start / I Come From the Water / Don't Get Me Wrong
SET 2: Lights On / Debts / There's a Reason / Whitewashed / The Devil's Arms / Cedar / Shine a Light

Recording on Sunday went great. Dave is tough, but an insanely nice guy about it all. We really are trying to make the tracks heavy and rocking, with a solid base. That requires some very sturdy beats from Matt, who is baring the brunt of the criticism at this stage. Fear not: we will each have our day of being nitpicked. Besides, all this can do is make us better players, and when we finish the record, hopefully we play the songs better than ever. We wrapped up basics (which may or may not be used) on three songs: "Golden Fleece," "Madeline," and "Lights On." Now, we take a month off and officially hit the studio on January 3, with Todd in tow. Highlights of Sunday at Woolly: I laughed at The Onion so hard that I cried (living up to its name); Mike played a $15,000 guitar; Creamer showed up in his outfit from spin class.

The BMAs were like this: I got shoved by Donnie Wahlberg (or someone in his entourage, according to Matt); we snuck backstage when the security guard unbelievably left his post (like a movie or something); Matt called Jordan Knight "Jordan McKnight" a few times and now denies it; Matt called Rob's wife "hot" unknowingly; Creamer stuck a cheese puff up his nose to impress Matt and then ate it. Also, GGG won two big awards and we're quite proud of them.

Last night was awesome. I'm psyched about playing with Letters to Cleo in NYC. I've never been familiar with their catalog, but they haven't missed a beat, by my measure. They sounded tight as hell, and they rock really hard. We'll be a good fit with them, hopefully. I'm looking forward to it.

And with two ski trips on the horizon and Cassavettes' holiday party on December 19, there's plenty more action to come.

Keep on moving

2008-12-05T11:39:00.000-08:00

Things are nuts at the moment. For a couple weeks there, I was updating like never before. And then... bad habits come back to haunt you. I fell out of the blogging habit for a bit. Attribute that to business.

Mike and I got together earlier this week to go over the notes we got from Todd on our songs. Most of it is fairly positive, though Todd isn't inclined to the rock stuff a whole lot, and certainly not the jammy stuff. There might have to be some compromises on both sides of the fence, but that's how these things work, anyway. At practice last night, we trimmed and tightened where we saw fit in a number of songs -- "Lights On," "Madeline," "Nothing On You" (soon to be retitled), "Golden Fleece" -- and most of it works pretty nicely. For the first time in a long time, the practice felt truly productive. As Scott said, it felt like we were actually working toward making a record for the first time. That's good, considering we start in, oh, four weeks or so. Still, there's plenty to be done, but I'm feeling good about it all.

On Sunday, we head to our chosen studio to lay down some scratch tracks -- to feel out the place more than anything. We don't expect to get any keepers, but you never know, we might. The band is at a good place to lay down some songs and the songs noted above, in trimmed fashion, are a good starting place for demos. The others still need some work (though some don't -- "Don't Get Me Wrong," "There's a Reason," and "Someday Darling" are pretty much there apparently. Maybe we can post some of these roughs as we go along and get some feedback on the new material.

In the midst of all, we're playing a number of shows including a private party tomorrow, The Dive Bar in Worcester again on Wednesday, and NYC on Thursday with Letters to Cleo (that show, by the way, is starting to get some blog love, and we're getting a few mentions, like here).

Either way, busy is good. It means progress (most of the time). I'm feeling like the band is getting where it needs to go, which is, by all measurable counts, the next level.

Full court press

2008-11-29T17:05:00.000-08:00

OK, kicking this holiday party promotion into high gear, check out this Facebook invite and RSVP for the show. Also, make sure to get your tickets now!!!

Early merriment

2008-11-29T09:27:00.000-08:00

Sooz over at the rejuvenated ExploitBoston has some nice thoughts on our holiday photo -- and the upcoming holiday show it advertises on Dec. 19 at Church. Check it out.

A week after opening for a reunited Letters to Cleo at Bowery Ballroom in NYC, Cassavettes are hosting a holiday party at Church on December 19th. If their holiday photo is any indication — they are taking this festive party stuff seriously. I’m optimistic that the sweaters, mug and owl in the photo will be on stage during the show. Joining them that night are Age Rings, Rogue Heroes, and Quixote.

What: Cassavettes Holiday Party
Where: Church, 69 Kilmarnock Street, Boston (near Fenway)
When: Friday, December 19th
Time: Doors at 8pm, first band at 9pm
Ages: 21+
Cost: $10 at the door (buy tickets online until 4pm day of show)

I tell you, I'm getting excited for this holiday show. I just saw Girls Guns & Glory and Sarah Borges at Church last night, and I was envisioning the venue, filled with holiday decor. We'll dress it up - and maybe do a cover of Trans Siberian Orchestra's version of "Carol of the Bells." OK, probably not. But maybe. But most likely not.

Giving thanks

2008-11-28T08:43:00.000-08:00

Speaking of Matt (in a non-Fios commercial way), he made the Thanksgiving edition of the Boston Globe yesterday. In Jonathan Perry's article about what local musicians are thankful for, Matt gives a good ole Cassavettes shout-out.

Thanksgiving is an important holiday. Loading up on carbs, calories, and tryptophan are all crucial components to hibernation in the winter months - and let's face it, the latter, nap-inducing property found in turkey has proved essential to our ability to get through a four-hour dinner with extended family members.

Thanksgiving is also a time to take stock; to appreciate what we've got. In that spirit, we asked some Boston-area musicians what they're thankful for, and who or what has inspired them this year. Many were kind enough to take time out from gorging themselves unconscious on stove-top stuffing (or maybe that's just us) and e-mail us back. Here's some of what they had to say.

"I'm thankful to the guys in Cassavettes for nurturing my newfound appreciation for Neil Young. I never thought I liked any of his music, as I was only familiar with the same three songs I had been hearing my whole life. But the guys insisted I take a hard listen to his work, and I'm better off for it."

MATT SNOW, Cassavettes

Actually, that's only a little bit of what Matt wrote to Jonathan. Here's all of what he is thankful for, pulled from our band email account...

What am I thankful for professionally? I would say its all of our friends who always come out to our shows. It doesn't matter if we haven't seen or talked to some of those people in awhile, they still come out and show their support for what we are doing. Its awesome to look out on a room and see a bunch of people having a blast with you. I'm also thankful for Glenn's van sticking with us. That great white beast has had some miles put on her in the last year, its a beautiful thing to see that majestic four-wheeled albatross of a car pull out of his driveway without a problem...most days.

I'm thankful to the guys in Cassavettes for nurturing my new-found appreciation for Neil Young over the past year. I never really thought I liked any of his music, as I was only familiar with the same three songs I had been hearing my whole life. But the guys insisted that I take a hard listen to his work, and I'm better off for it. It gave me a better grasp of the idea of the song as a complete work, and I think its helped us improve our overall sound.

Also, included in the article are our buddies like Kier of Three Day Threshold (who's photo ran with the piece...BIG SHOTS!) and Ryan from Hallelujah the Hills, but also this out-of-the-blue shout-out from Ward, which we appreciate.

"I am thankful for our fellow Boston band Cassavettes! Not only do we share a practice space with them, but they don't scold us when we leave the door open for weekends at a time or get angry when they find unexplained tissues all over the floor. (Also), Ray LaMontagne's new album, 'Gossip in the Grain.' Just flat-out beautiful music."

It's true, we have had some issues with them over leaving the door open (though those evaporated when Matt did the exact same thing -- and he's being too nice, we did scold them a bit), but at the end of the day, they are some of our best friends and we love them like brothers. We're certainly thankful for Girls Guns & Glory and Three Day Threshold -- two bands who have helped us grow, and hopefully we have helped, too. I am quite proud to call them our friends.

Personally, I am thankful for the dudes in Cassavettes. There's no one else I'd rather be doing this with. It's been an insane ride, and it will continue to be.

Matt's doppelganger

2008-11-26T11:41:00.000-08:00

As long as I'm posting look-alike photos of the dog and I, why not end all the rumors floating around the net and admit that our beloved drummer Matt Snow stars in the Verizon Fios commercial? OK, maybe not, and I couldn't get a good photo of the guy (plus, this photo of Matt may be TOO good -- as in, he's not making a Matt/cable guy face), but the similarities are pretty uncanny.

Don't like that photo? How about this one?

OK, so I always think everyone looks like everyone. I see people in other people perhaps too much. Or maybe not. Oddly enough, someone over on the NY Mets has a similar idea...

Alma mater review

2008-11-24T10:54:00.000-08:00

Just found a review by The Huntington News (formerly the Northeastern News, the campus paper of my alma mater, Northeastern University). They've got some nice thoughts on our show back on Mike's birthday, Nov. 11. Check out The News' full version and our blog on the show.

One, Two, Three Times the Fun
Northeastern bands Plastic Reverie and Eroica took the stage in front of more than 50 students Tuesday during a free show hosted by afterHOURS. Veteran folk rockers Cassavettes, made up of one Northeastern alumnus and three of his friends from his hometown in Texas, headlined the event...
Headliner Cassavettes are not strangers to afterHOURS. The band members joked back and forth about the Curry Student Center, as well as their disdain of the Los Angeles Lakers, who beat their favorite team, the Dallas Mavericks, that night.

Led by dual vocalists Mike McCullagh and Glenn Yoder, Cassavettes blended an array of genres to form radio friendly pop rock. Also in the band are bassist Scott Jones and drummer Matt Snow.

"They draw people who enjoy a lot of different styles of music," said sophomore linguistics major Tina Campbell.

Although Plastic Reverie, Eroica and Cassavettes only play afterHOURS a handful of times each year, they said they are working to schedule more shows in the Boston area.

I don't recall any of saying that we are working on more shows there, but that's OK. We didn't talk to anybody from The News.

Coming attraction: NYC

2008-11-24T10:42:00.000-08:00

A nice posting on Letters to Cleo's show (oh, with us, too) at the Bowery Ballroom on Dec. 11, with links for tickets and more. Check it here.

Boston-based rock outfit Letters To Cleo will reunite after an eight-year hiatus for four shows this fall.

Original members Kay Hanley (vocals), Greg McKenna and Michael Eisenstein (guitars) and Stacy Jones (drums) will join forces with Joe Klompus (bass, replacing original bassist Scott Riebling) when the gigs get underway Nov. 8 in Los Angeles.

The reunion follows a brief impromptu performance last year during a Boston benefit, which featured the hits "Here & Now" and "Awake." Says Eisenstein, "We were excited, the crowd was excited, and from that point on, it just seemed like we should try to find a time to do it for real."

Letters To Cleo sprung from Boston on the strength of the 1993 album "Aurora Gory Alice," which featured "Here & Now." The group disbanded in 2000, with Hanley moving onto a solo career and such projects as the Disney Channel's "My Friend Tigger and Pooh" and voicing Josie in the 2001 film "Josie and the Pussycats."
-Laura O'Connor, Billboard

Looking for tickets? Get them here.

Halloween to Christmas

2008-11-23T16:46:00.000-08:00

For Halloween, I went as Boon and Boon went as me. We sort of met in the middle -- he took my hair and shirt, I took his eyebrows and goatee. Here are the frightening results.

NOTE: I meant to post this a month ago, but the images were stuck on Scott's computer. That's life.

Skipping ahead a few months, from October to December, here are some working cheesy holiday greeting cards, care of Cassavettes.

Stacking up

2008-11-23T12:57:00.000-08:00

So, here's the plan. Why play one place every once in awhile, and hope for people to remember you're coming at some point, when you can go back to a place with regularity and have folks expecting you? That's the grand scheme, and we're hoping to enact it at a few different spots. A key point is New London, Ct., believe it or not, where we played last night, and where we put the pressure on -- "once a month," we told the booker repeatedly. He concurred.

If we could get down to New London once a month, it'd be great (we always have a good time there). We have devoted fans there, and The Oasis still ranks as one of my favorite places to play (even if we had a bit of an odd time last night, with some sickness amongst the crew). But being out with regularity would tighten the band up, and help us build a crucial following. We have plans for New London, Worcester, and possibly somewhere else. We'll see what happens. But why change a good thing? Sure, we can play other places, but if the crowd knows where you're going to be, and what to expect, then aren't they more likely to come out? That's the hope.

Anyhow, last night did have a somber note (besides the aforementioned sickness): Pat's streak of flipping off the stage ended. Well, sort of. He still SORT OF did it, but there wasn't the enthusiasm of previous visits. Must be the frigid weather. Or something.

SET LIST: A Hard Rain / Don't Get Me Wrong / Carolyn, Don't Leave Like This / Lights On / On the Lam / Nothing on You / Cedar / I Come From the Water / Shotgun Wedding / Shine a Light

Also, Worcesterite has this post promoting our show there last week (you can also check out our post here). All the posts are quite nice, and we appreciate them, and one reader brings up a very good point...

We played with Cassavettes like a year ago, and thay were really good. That being said, I really don't get all that "Americana" hype about them. They just seemed like a regular-ass rock band to me, albeit a very good one.

Yeah, we don't get it either!

Won over by Worcester?

2008-11-20T14:23:00.000-08:00

I'm feeling good. Since last we spoke, the Mavs haven't lost. I'll take a three-game winning streak. I also have hardly slept -- not that that makes me feel good, but just an added detail. It's been a busy week at work, probably my busiest ever. As a reward, I don't have to go in tomorrow. So I'm meeting with local strongman Todd Thibaud to start some production stuff. Anyhow, finally, what IS making me feel good is the show last night.

A pertinent question: When will we admit that Worcester can be pretty dang fun? We always complain about it, and wonder about its bizarre statue of a man/boy having sex with a seaturtle, and yet we are now on a roll there. We're like the Mavs, as of late. OK, so we have had a couple clunkers there over the last couple years. So what? Our last two shows have been two of the most fun I can remember. As you may recall, we had the time of our lives at WPI in October. And last night, we played a tiny bar gig at The Dive Bar, and it was such fun, and the people were so nice, and there were steak and cheeses all night (though I didn't partake), that it very well may become a regular gig. And why not? I'd love to go back to Worcester more. There, I said it. Happy now?

And hey, it couldn't hurt to build up there a bit.
SET 1 (from memory, I'll need some help from the other guys on this): There's a Reason / The Nadir / Madeline / The Devil's Arms / Someday Darling / Six Hours / Golden Fleece / Research Blvd / Carolyn, Don't Leave Like This / St. Anthony / Marie / You'll Be Crying Soon / On the Lam / I Come From the Water / Whitewashed
SET 2: A Hard Rain / Debts / Lights On / Don't Get Me Wrong / Cedar / Shotgun Wedding / Shine a Light

Good times for a change

2008-11-17T07:48:00.001-08:00

Oh joyous day! It doesn't matter that it'll be a long one at work -- the Mavs finally won another game. That ought to hold me over. In the mean time, enjoy these photos of 3/4 of Cassavettes, shot by Este Aladro at our show at Pete's Candy Store in Brooklyn last week. Scott refused to have his photo taken. Something about it stealing his soul...

What could have been

2008-11-14T10:31:00.000-08:00

A co-worked created this photo and sent it to me. Thought you might enjoy knowing what I might look like if I could grow facial hair/went as Todd Palin for Halloween. But alas, I can't grow complete facial hair -- and I was Boon for Halloween.

Finally, my record has been sent to press. It should be done by early December and for sale by January. I hope to play a release show or residency that month. Stay tuned for details...

Give it up

2008-11-12T09:37:00.000-08:00

Matt is now the only one who has not had a show on his birthday. Last night, Mike rang in his 24th year with a low-key show at Northeastern -- last year, Scott celebrated his 22nd in Cleveland; this July, I celebrated my 23rd at the Paradise; and in May, Matt narrowly missed a show on his birthday when we played a Cinco de Mayo show. Anyhow, happy birthday to Mike, now the second oldest member in band history.

As I've explained before, these college shows are good for money and networking, but can be disheartening. Not really the case last night, as we just kept it loose (perhaps too loose) and fun. We joked around a lot and didn't have much concern for sounding professional, but we needed to blow off some steam, I think. We have been working hard -- and things are about to get a whole lot harder (and more fun). We were at our best at two surprising moments, an impromptu version of "Someday Darling," and a perhaps Toadies-live-performance-inspired version of our old version of "I Come From the Water." Either way, this was one of our better shows at my alma mater -- and one of the most fun.

SET LIST: Nothing On You / Don't Get Me Wrong / Carolyn, Don't Leave Like This / Madeline / Debts / Golden Fleece / On the Lam / Someday Darling / Cedar / I Come From the Water / Shotgun Wedding

I spoke with Todd and he is down for his role as co-producer of our record. Things are looking up. Plus, if I didn't mention before, we confirmed dates in NYC opening for Letters to Cleo on Dec. 11 and our re-appearance at Rodfest this January. Should be good.

Finally, tickets are now up for sale for our big holiday party, Dec. 19 at Church in Fenway. Also on board are Age Rings, Rogue Heroes, and Quixote. We need to schedule a photoshoot for our flyer...I need to get on that. Anyhow, pick up your tickets today!

Troika

2008-11-10T09:50:00.000-08:00

Three shows, three nights. This is what it's about. The biggest show, of course, was Saturday night's show with The Toadies at the Paradise. But let us not forget Brooklyn on Friday night, when we played a subdued, yet fun show, even if it was the complete opposite of the night that followed or even Thursday night's funfest with Jesse Malin. We'll work into the Toadies show; let's start with NYC.

You never know what to expect in NYC. Prior to the show, Matt and I discussed how much we like the venue -- Pete's Candy Store in Brooklyn -- after the last time we played there, and how we'd like to make it a regular thing to go there. Afterward, the mood was quite different. The show is free, which we like, but we don't make anything except for merch sales, which is painful after the drive down. Also, the place is cramped and encourages folks to sit, which is never a good thing for our shows. While we will be playing the much larger Bowery Ballroom next month, it feels worlds away from where we were Friday night. We went on at 10 p.m., or were supposed to, but the band ahead of us started late, and ended later. By the time we started, it was 10:35 or so. At 11:05, the band following us rushed the stage to tell us we had gone overtime. We did one more song and cleared off quickly, though they apparently still took a couple jabs at us from the stage. Eh, whatever. That's an unorganized night of music for you. At least we got to hang on Pete's awesome patio with friends, get some photos taken, and drink some Brooklyn beer. What more can you ask for?
SET LIST (to the best of my recollection): Madeline / Carolyn, Don't Leave Like This / There's a Reason / Cedar / Shotgun Wedding / Shine a Light

The funny thing about this Toadies show was that, at first, most of the reaction I got following the set wasn't a critique of our playing; it was people asking HOW we got the gig. A back-handed compliment, as Mike put it. Oddly enough, I recently explained that in this very blog. But most people were very positive about the set, including, but not limited to, my favorite Paradise security guy who told me that bills don't get better than Cassavettes/People on Planes/Toadies. I thanked him heartily. We tried to keep the set upbeat, but it marked one of our worst-ever nights for crowd interaction. We could get nothing going. But I'd rather have that than poor playing, and our playing was strong on this night. No major mistakes, save a missed beat at the end of "Don't Get Me Wrong," and plenty of good vibes coming back at us from the audience. It wasn't like the Kings of Leon show we played there last year, where the crowd was into it from the start -- more so, this was a challenge. The audience needed to be won over a bit more. And, judging from the merch sales, email list, and people talking to us, I'd say we did our job. The Toadies, by the way, were absolutely splendid and had a great crew with them. It really was like living out a childhood fantasy of playing with our idols. Plus, thanks to our passes, we got some of the best seats (well, standing room) in the house -- to the side of the stage. What a night!

SET LIST: Don't Get Me Wrong / Carolyn, Don't Leave Like This / Madeline / Nothing On You / On the Lam / Lights On / Cedar / Shotgun Wedding / Shine a Light

Feel the love

2008-11-07T10:25:00.000-08:00

Talk about not knowing what to expect. A rainy Thursday night at TT the Bear's? I figured we'd be lucky to get even a few folks out, but alas, I'm always surprised by your dedication. This is your victory. OK OK, enough of the Obama stuff. Either way, the show was great, with a blistering opening set by The Dirty Truckers and a loud, crazy set by Jesse Malin, in which he kindly dedicated a song to Cassavettes. Talking with Ryan, he of the Smashing Life, before the show, he told me that he considers Jesse top 15 -- occasionally, top 5 -- artists in the world. Crazy! But his fans are indeed loyal, and were loving every minute of it.

As for our set, we played well (save for a few times when Matt stopped playing drums -- he was quite embarrassed about it, not sure what happened there) and kept it light and loose. I was having a good time onstage, though a bit battered by a cold. All's well that ends well, and by the end of the set, we got a good, loud reaction. We chided AJ about his post-election shave (he's as smooth as a baby's bottom now, for the first time in...in...who knows?) and we had some laughs.
SET LIST: Lights On / Madeline / Carolyn, Don't Leave Like This / Don't Get Me Wrong / Golden Fleece / On the Lam / New Song, Untitled / Cedar / Shotgun Wedding / Shine a Light

Before the show, there was a bit of buzz for Jesse coming to town, and we got some accolades. From Cheap Thrills:

Let's hope Jesse Malin shows up tonight. I think he's postponed a couple different Boston appearances over the last year. It's cool that we can still check him out in tiny clubs where you could almost touch him almost as easily as his songs touch his fans. Malin has come out of the punk scene to make a rough-and-ready version of rootsy music. I haven't fallen under the spell yet, but guests on his last album included Ryan Adams, Jakob Dylan, Josh Homme (QotSA), and a guy known as Bruce Springsteen. Even if he doesn't show, Cassavettes and The Dirty Truckers, two of our best local rootsy rockers, could keep the crowd more than happy.

Plus, Pick of the Week at the City Pulse, whereas Ryan's Smashing Life took it one step further, declaring it Jesse Malin Week. I think Obama supporters may have some qualms with that... OK, that's the last one, I promise. For now.

Tonight, we head for Brooklyn and tomorrow we share the stage with the Toadies!

We're gonna have a party

2008-11-05T19:02:00.000-08:00

Following a list of his favorite bands by our old friend at Ryan's Smashing Life, Boston T Parties took it upon themselves to look into the band a bit.

Cassavettes Apply Texan Whitewash To Boston Blues
Cassavettes (5c on Ryan’s smashing list) remind me not a little of early Black Keys, with their gristle-coated garage rock, spiraling guitar solos, and gruff vocals, courtesy of frontman Glenn Yoder. Theirs are songs built for bars filled with enthusiastic head-boppers. The Boston quartet also have a knack for the sort of indie pop so common on the CW, topping straightforward, hooky melodies with semi-narrational, nostalgia-tinged tales of botched love. Most of it is quite appealing, especially when the boys weave in banjo plucking or jazzy piano (or both, as they do on “Research Blvd”). The characteristics requisite for longlasting success -musical ear, fervor, compatibility with one’s bandmates, are clearly present in the members of Cassavettes, so the unfinished, could-be-better feeling I get from some of their songs is far from discouraging. I’m excited to see what lies ahead for them.

Most of it is fairly positive, with a dash of CW thrown in to keep us on our toes. Either way, an opinion is an opinion and we appreciate the post!

Cassavettes: the right choice for your American weekend

2008-11-05T10:18:00.000-08:00

My fellow Americans,
Years ago, I jokingly started a political action committee to elect myself president. This group, started in the fledgling Facebook days, included my best buddy Tim Coughlin as my running mate and counted Jose Juan Barea (now PG for my Dallas Mavericks, one-time Northeastern star) as a supporter -- I kid you not, TIM COUGHLIN. And yes, if you're wondering, amazingly I garnered one write-in vote in the 2004 election (no, it wasn't mine). Somewhere the physical evidence of that exists. The point is...

America put its muscle in the voting booths yesterday, drawing record turnouts. You've got to feel good about that, no matter where you lie on the ideological spectrum. That being said, let's put politics aside for a brief moment and talk about some big shows Cassavettes will be playing this weekend...

Tomorrow, Thursday, we will be playing in support of Jesse Malin, a member of legendary NYC punks D Generation and a buddy of Ryan Adams (who produced his solo effort). The show will be at TT the Bear's (10 Brookline St., Cambridge -- off the Central Square red line T), it costs $10. Tickets here.

This Friday, we will be back in Brooklyn at Pete's Candy Store (709 Lorimer Street, Williamsburg), a great little bar with good drinks and tasty sandwiches. Also, the stage, while tight, is quite cool. We play at 10 p.m. and, best of all, it's FREE. I think all Americans can get behind that.