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Show To) fxJ n r-- - .... by Lou B -- ft Acoustic Disc wo Music Volume 6 various artists Acoustic Disc II If" i i I . I label ddiratfd tn hah quality acoustic music, tl Acoustic Disc has put disc with together a to make up volbits and pieces of previous Acoustic Disc releases ume six of their signature collections. The late Jerry Garcia, with David Grisman and Tony Rice, opens the disc with a rendition of "Man of Constant Sorrow" from the previously released album The Pizza Tapes. It is a familiar song thanks to the success of the movie and soundtrack of "O Brother, Where Art Thou," as well as the rendition by the Soggy Bottom s a 1 , full-lengt- i-- .' S 1 'taws,? i 1 1 i 0 0 ft Hand made oo li I :.,': Marzulli Vargas h Boys. Garcia's signature vocals and WHAT HAPPENED TO GETTING ONE'S GROOVE ON? by Jed ri Sundwail stt't Kilby Court great? I've Dccn to snows in ul, ban Francisco, L.A., Nampa, Atlanta and countless bar mitzvahs, but there's simply nothing like Kilby Court. It's unique to Salt Lake City and I don't know if it could even exist anywhere else. Where else are you going to smell bands like Death Cab for Cutie, or even rock and roll demigod Calvm Johnson? It's a great place to see local artists perform as welL I used to spend a lot of time at Kilby Court, but after a while I began to tire of it. Something got to me. I couldn't handle standing around for hours on end. I wanted to dance, but I just didn't feel right. Nobody else seemed to be dancing. Was it wrong to dance? I barely felt at home nodding my head. As groovy or rockin' as the music got, I felt paralyzed. Sometimes I would dare to air guitar or even drum on my chest 764-HER- a la Bobby McFernn. However, I slowly began to realize that hard- any physical manifestation of my enjoyment of the music was acceptable. I noticed hushed whispers of disapproval about other showgoers braver than I, who would dance the night away. My friend Jeremy told me how he had once been personally ridiculed by the very band that was making him rock out. His experience was as follows: He was not at Kilby Court. He was at some sort of Provo wannabe Kilby Court and a local Provo band was getting hot and heavy on the stage. Well Jeremy couldn't resist, and he danced. The band disapproved and mockingly gave him the thumbs up and told him that he was "real cool, dude." Even though it wasn't at Kilby Court, the aforementioned band has been seen at Kilby Court. suppose I aim to expose paralysis that has cripentire the music "scene" here pled in Utah; namely the "emo" scene that seems to dominate Kilby My cousin Dan is a skilled and successful orthopedic surgeon. Before he became a doctor, he got a degree in mechanical engineering. He knows the human body and how it works. He explained to me that while people can stand stationary and do no damage, in general, our bodies are not meant to remain in any one position for a long period of time. It is not healthy. Now, get this! Standing motionless may cause potential lower-bacpain. Blood also collects in the legs over time and may result in swelling andor edema! I think k lower-extremit- y I slowly began to realize that hardly any physical ly 1 socio-physic- Court. Perhaps my hesitance to get freaky at Kilby Court is my own problem, but it's not just a fear of feeling uncool. Standing perfectly still for hours isn't simply uncomfortable, it's downright DANGEROUS. R4 I march 28, 2002 of my enjoyment of the music was acceptable. strengthening bones and joints. Obviously, however, mosh-inis bad. So just dance. I don't care if it's salsa, waltz, tap, modern or the foxtrot. Just move; it's swelling and edema might be the same thing, but that doesn't matter; they're bad.- asked him about the guards at Buckingham Palace with the hats. Well, it funny, black turns out that those guys are in shape foT that sort of thing. They do exercises and such. Now you might ask, "what about yoga?" Well, yoga's great, but bet none of the kids at Kilby Court are aligning their bone structure and practicing yoga during a show. Besides, it doesn't look cool to have perfect posture either. My question is, "what about dancing?" Dr. Dan says that dancing is good. It gets the heart pumping. Dancing impacts your I O-ti- 1 . g better for you. Well, that's half of the problem. said, it's a sociophysical paralysis. I saw a great performance by The Microphones about a year ago at Kilby Court. Phil Evrum and Karl Blau played an assortment of charming pop-folsongs for a small audience around the fire pit outside. The fire below and a gibbous moon above provided the light show. The setting was perfect, and Phil and Karl talked to us! However, we didn't talk back. Why? I don't know! They were standing right in front of us. I don't know how many times I've stood within arm's reach of a band, when they ask the audience a question and nobody answers uncomfortable silence Like I k for all. suppose everyone thinks that someone else will do the talking. Usually, a few people will finally open up, and I honor them for it. Way to take one for the team. I'm sure it makes the band feel a lot better when the audience responds to them. Somehow, however, a air of "it's not cool to talk" pervades the typical Kilby Court crowd. I'm guilty of my own charges. I'll admit it. I am a weak man with fears and deep perscr.al misgivings, but I'm trying to overcome them. I am asking you, patrons of Kilby Court, to help me. Let's do this together. Let's have a frank and honest discussion with the next band that talks to us during a show at Kilby I high-schoolis- lower-extremit- y RED Magazine body, h Court. Regardless of past sins, the social atmosphere at Kilby Court is constantly improving. It's a great place to meet people. It might be hard to make the first but I've never had a bad experience striking up a conversation with a stranger there. We, Salt Lake City residents, have a great opportunity to nurture a unique community based on local and primarily American independent artists. It's a great thing. It's something to be proud of. I just wish we'd talk to each other more and then...get our freak on. move at times, jedred-mag.co- m guitar style breathe a unique life tune. classic into the The album closes with the bonus track "Anniversary Waltz," played by Beppe Gambetta on harp guitar, with David Grisman and Carlo Aonzo overlapping their mandolins to the steady guitar strumming, soothing from beginning to end. The disc plays on the margins between a compilation and a sampler. It features two tracks from the past seven Acoustic Disc releases. Most Acoustic Disc releases chronicle a historical event in one way or another. Sometimes the releases document the collaboration of musical virtuosos, as The Pizza Tapes, the only studio recordings of Garcia, Rice and Grisman, does. Grateful Dawg the Soundtrack documents the relationship of Jerry Garcia and David Grisman. Other Acoustic Disc releases trace the history of a musical instrument andor genre, like Tone Poems III, which features 2i tracks with 5a unique vintage instruments. And then there is Traverstat a, an exploration of Italian music in the United States as well as the old country. The reach of this disc is wide, from bluegrass and folk to Italian mandolin music and gypsy, plus all stops In between and far beyond. It made me want to go out and get some of the discs featured on this collection. Overall, the tracks can be admired for their musical intricacy and innovation among acoustic sound. Bravo to Grisman and all the folks at Acoustic Disc. New Ground Robert Bradley's Elackwster Surprise Vanguard Records OOP J" ith three new members to Robert Bradley's band, Ground marks the h front man's third release. Bradley started playing music at a very young age and managed to be in bands for the majority of his life. At one point, however, he was in charge of a state-ru- n store for the blind. After his wife late in the '70s, Bradley turned to the splitting up with streets to make a living. He spent the next xS years of his life riding Greyhound busses from city to city with a guitar, his voice and a genuine love of music. In 1991, his musical career skyrocketed when Andrew and Michael Nehra heard Bradley playing on the corner below their recording studio. The rest is history: They put a band together, album in signed with a major label and released a i 1 J Atew full-lengt- self-title- d 1996. Making a name for themselves the way, the band toured the clubs and opened for headliners like Widespread Panic and Maceo Parker, to name a couple. "Profile'' begins with sonic vibrations accompanied by Bradley's raspy vocals, and then turns into a hard-roc- k piea for peace as guitars amp up the chorus. 'Exist for Love" puts forth an introspective tone on the meaning of love and the reasons for peace. It progresses styles from beginning to end, using an R&3 influenced tune with an outro of ambient nature that soon blends into thehext track, "Nightlife," which comes across with a completely different sound. The album overall is mellow with really soft sounds. Eut from the beginning, something about it doesn't seem to fit and I think Bradley said it himself in the press info. He said "Studio musicians, they're the players. If they could sing, they wouldn't need me. If I could write, I wouldn't need them. One hand washes the other" This man, who has had an interesting life and who has an honest love for music and some interesting things to say, is singing for studio musicians. I want to hear the street recordings of Robert Bradley; I want to hear him, not his voice over the popular sounds made by a bunch of studio guys. The music sounds good, but the two elements put together sound a little bit out of place. ed |