Music Editor's Letter for CityBeat Issue of July 25

Sorry for the scarcity of posts here at Spill It lately, but I'm back on the ol' blog horse and should be back up to speed now. One of the main reasons I've lacked the time to post is emblazoned across the cover of the issue of CityBeat out today. I recently got together and talked with Ryan Malott and (most of) the rest of 500 Miles to Memphis crew about their new album (their first for noted indie label, Deep Elm) and the long, winding road Malott took to get to where he is today.

One of my favorite parts of this job is watching people evolve. I love to see freelance writers come in with raw talent and, by the time they leave, exit with that talent honed. Of course, this usually means they move on to bigger and better things. But I also like seeing them start their careers in earnest. And I enjoy looking for new writers to come aboard and take their spot. The circle of life. Or something.

But even better is watching musicians grow. One of the advantages of sticking around and writing about the local music scene for so many years is that I can observe musicians' evolution — as both artists and people. There's something immensely satisfying about seeing a young, green band turn into a powerhouse. Or a fumbling MC become a master of the mic.  Or a timid singer/songwriter turn into a mature, confident craftsperson. Heck, it's to the point now when I can tell when a drummer gets better. (How do you know when a drummer is getting better? Please put your favorite drummer-joke punchline below.)

Ryan Malott's journey from a wide-eyed 19-year-old upstart to accomplished songwriter with a record deal and full slate of tour dates has been one of the more impressive transitions I have witnessed. Four years ago I interviewed Malott near the beginning of 500 Miles and he seemed unsure of himself — what to say, do, wear, play. He talked of the band's foray into novelty costuming (Elvis shades!) and about how he had seen his first Country band a year prior, something that became the inspiration behind his "Country Punk" melding (and something the young musician thought he had invented, only to find out soon enough that it wasn't a completely new concept).

Ryan today is confident. And he should be. The new 500 Miles album is stunning. If the mere concept of mixing Punk Pop and traditional Country makes you shiver, don't assume you'll hate the band. Malott's songwriting transcends both genres. The band members cringed as they talked about comparisons to Green Day (someone put them down by saying they were "Just Green Day with a lap steel guitar"), but that's not a bad way to describe it, though the Country side goes way beyond a couple of lap steel licks. And it shouldn't be taken as an insult. Malott's growth has resembled Green Day's in some ways, though it only took Malott one album before he got to his American Idiot. And conceptually, both Billie Joe and Malott approached their most recent records as thematic pieces, meant to tell a story. If you think about how many records Green Day has sold and you think about how many Country CDs are sold in this country every week — well, let's just say, if it were me, I'd be printing up "We're Green Day with a Lap Steel!" T-shirts.

Malott didn't get to where he is easily. Through a lot of "rookie mistakes," plus issues with depression and over-indulgence, Malott has emerged all the better. His story is a fascinating one (and brutally honest, so much so that he had second thoughts about revealing too much information).

The band hosts a two-night CD release party for the new CD, Sunshine in a Shot Glass, Friday and Saturday at the Poison Room. The host-band is only playing Saturday night (at 11 p.m.); Friday looks to be the build-up, with lots of special musical guests.

Here's what you'll find in the actual music section of the CityBeat that hits the streets today.

• There is a ton of great music going on in the area this week and not all of it you'll find tied into the "Music Fusion" tourist marketing plan, which again missing some great events. I'm sorry if I offend those who like going, but the big Macy's Music Festival has become less about the music and more just a big social event (which is fine, but those who look forward to the music have to be getting sick of whatever version of the Temptations is wheeled up on stage any given year). Don't worry — we gotcha covered. I'm super-psyched for the Lite Brite Indie Pop & Film Test, which runs at the Southgate House Friday, Saturday and Sunday. You can read about the event throughout the new issue. The lead music feature is about LIte Brite participants The Sharp Things, a massive Orchestral Indie band from New York (fronted by veteran publicist Perry Serpa, a name everyone who has done anything dealing with music publicity in the past 15 years knows well).

• In the print Spill It, I also go over the local music represented at Lite Brite — Pomegranates, newly signed to an indie deal, and newly revived (well newly playing-out-again-after-a-few-years) mallory.

• And in the To Do section, you'll also find an overview of some of the films that will be screened at Lite Brite (including the recent flick about damaged PsychPop legend, Roky Erickson). Also in To Do, I give a little spiel about eccentric Electronic duo, Dandi Wind, one of Sunday's headliners, who reportedly put on a hell of an eye-poppin' show.

• But wait, there's more! Our second music feature is about another "fest band." Killswitch Engage is one of 16,490 bands playing the long-running Van's Warped Tour, which comes to Riverbend a week from today (Aug. 1). Aaron Epple talked to humble vocalist Howard Jones (not the ’80s Pop guy, though that would be interesting), who fronts the melodic Metalcore band, but shies away from the usual frontman spotlight-hogging. Jones told Aaron, "I've never been a huge fan of getting around a group of people who tell me how much they love the band. Don't get me wrong, we're completely grateful. I just shy away from that sort of thing. It's peculiar; I don't think I'll ever become accustomed to it." So if you're going to Warped and see Jones, just leave the poor fella alone.

• In Locals Only, Zachary Breedlove gets the skinny on local Surf Rock freaks, The Flux Capacitors. The band uses a Surf music base, but that's a springboard to wild experimentation. And they wear Native American headdresses and crazy make-up on stage. Do we really need to say anything more? Sounds great to me. I really dig their Surf rendition of The Clash's "Rudie Can't Fail." Check it out now on their MySpace page.

• In Short Takes, Hannah Roberts makes her triumphant return to the music section and CityBeat with her musings about Minnie Driver's new record (yes, that Minnie Driver and, no, it doesn't suck). Meanwhile, Brian Baker gives his thoughts on the new Grace Potter and the Nocturnals album, plus the already critically-acclaimed new one by twin-sister duo, Tegan and Sara.

• As if I haven't talked about enough things to do this week in the music world, in Sound Advice we also have previews (with interviews) for shows by ex-Drive By Trucker, Jason Isbell (playing a freebie at the Poison Room Thursday to get the word out about Lite Brite),  Simon Dawes (opening for Incubus at Riverbend Sunday) and Robert Randolph, who brings his guit-steel Soul/Funk/Blues to Kettering's Fraze Pavilion on Sunday.

Enjoy all the music this week. As we like to say, "Every week is 'Music Fusion' week to us." And please tune in tomorrow for more posts. My unexpected, newfound bachelorhood has forced me out of the house quite a bit in the past few weeks and I've got lots of local music observations to share!

— Mike Breen

Comments

[Action News]

"How do you know when a drummer is getting better?"

He explodes, leaving behind a small green globule on his seat.