While producing the aforementioned GigaPan
project (see Part 1), I noticed a poster for an upcoming show:
All of this brings me to a Saturday night in
early October. I sit in a crowded Speal’s with a standard beverage, listening to Shane Speal crank out anything from “When the Levee Breaks” to “ Back in the
New York Groove.” Shane was armed with nothing more than a three-stringed cigar box guitar
and a Vox turned up to eleven. He is the first of three scheduled acts, all
featuring this same powerfully simple instrument. I am hoping to make it to the
headliner, April Mae and the June Bugs, as unique and playful as the starring
instrument that brought me here in the first place. If their sound can be
summed up, this quote from their web
site comes closest:
“Americana under the influence of Jump Blues, Swing, & Rockabilly...Ba--ba--ba - Boogie! With a dab of N’awlins for extra spice! Smoke & honey vocals, Cigar Box Guitar, Upright Bass, Banjo, Washboard...servin’ up high energy & deep vintage vibes is our specialty. Roots Baby Roots!”
I was hanging in there in my wait for April Mae and company, even though it was starting to look like a long night. The second act proved more impressive than I had expected. Gerry Thompson’s Killing Aunt Grace played more sophisticated music than Shane’s “field calls and hollers.” It was called dark folk and was played by two men. Gerry could play Santa without much help, wearing a Ramones t-shirt that was slightly obscured by his full grey beard. The crowd thinned out a bit during his set, another indication that his style may have strayed too far from what the audience came to hear.
While I took in the offbeat tunes served up by
Gerry and Carl, June Bugs guitarist Dave “Catfish” Fecca sat down at my table
for two. He and April Mae were also taking in the other artists. He was even
helping Gerry with his sound levels at times. We exchanged contact information,
and I told him I’d let the band know when I posted my blog about this night and
the Tavern.
I made a note to also let them know when I
post the “Band:Smart” series. They may welcome the samplings of free advice.
April Mae also stopped by to chat.
"Personable" as a descriptor does not do her justice. She was immediately warm
and cordial, taking my hand as we talked and looking me in the eye with
interest in my project. She was sincerely happy to spend some time talking with
those who had come such little distance to see a band that had traveled six hours
in a modest, converted school bus to play at this modest, converted venue. I
couldn’t help but become a fan and supporter as we talked. The band’s second
release, “It’s All About the Boogie” (see above), will just plain make you smile.
 |
| See them perform and get to know them here. |
When they took the stage, all of that authentic
love of what they were doing was evident. Dave went through a variety of
instruments, including electric guitar, banjo, mandolin and—of course—the cigar
box guitar. April Mae crooned signature songs and even a Memphis Minnie number
in an earthy style while slapping and tapping her washboard with metal-tipped
evening gloves. If you ever get the chance to see this band perform, I
guarantee an unusual and fun time.
Four songs into the band’s set, it became
clear to me why this place, which can’t be a big money-making enterprise, has
endured for generations of Speals. I watched the patriarchal owner, Dan, take
in the show while simultaneously socializing with any and all who stopped by to
say hello. This is his life, four nights a week. If it is a financial break
even, he is miles ahead in his living.
(Next Week: "Smoke on the Water")
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