The Quarantine Blues: Musicians Killing Time In Isolation, A Pencilstorm Series Kickoff - by Jeremy Porter

Spotify Playlist - Listen While You Read!

We’re about two or three weeks into the great self-quarantine of 2020, depending where you live and when your city/state/country decreed a lock-down, if they did at all, and if & how you chose to personally adhere to it. It’s been a shock to our systems, and the whole “system” in general as we adapt to isolation. I’m certain that it’s affecting us each a little differently depending on our individual psyches, situations, and locations. I’m no expert, that’s for sure, but here’s some of what I’ve learned and how I’m coping and adapting.

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While I never felt the coming pandemic was a hoax or a political ploy, I initially brushed it off as something that likely wouldn’t affect me much. I used a phrase I often go to when someone gets uptight about a potentially dangerous situation – “That’s not gonna be what kills me.” Hell, I’ve been through worse – car accidents, serious illnesses, more than a couple sticky situations. I’ve never had a flu shot, rarely get sick, and tend to live for the day. My band drove to Ohio and played a show on March 14th, just as the country was starting to shutter. Never cancel a show. Never.

That Monday morning Michigan was locked down. I watched our governor talk and I stayed focused on the news cycle for the next few days. By mid-week I was suffering from major anxiety and my OCD was out of control. I still felt relatively safe, but we had 22 shows booked for April, May and June. I’d spent endless hours, sent hundreds of emails, spent money on posters & lodging, and endured enough rejection to make a better man quit the music business altogether, but ended up with an impressive spring tour that would take us to several states, some of our favorite rooms, some new ones we were excited about, and with some of our best friends and favorite bands. Everything went from awesome to unknown in a few short days.

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Then, perhaps a bit out of order, the bigger picture hit – people are going to get sick and die. Are my parents taking this seriously? My wife? My bandmates? My co-workers? My neighbors? Is it ok to have band practice or recording sessions? Is it ok to even leave the house? Pretty soon all major sports, concert tours and festivals, and public gatherings of any kind & size were cancelled months out. I still can’t find a roll of toilet paper in this town. This is bigger than any of us thought and I better figure out a way to deal with it.

The first change I made was to drastically limit my news intake. I’ll check the headlines in the morning and watch a little national news in the evening to get the big picture, but I can’t take much more than that. The daily White House press conferences should instill confidence and trust, but they do the opposite. The rest of the news cycle is endless speculation and regurgitated headlines. My anxiety decreased immediately, and I’ve since been able to channel my energy elsewhere.

I started spending a lot more time with my guitar. I’ve never had a problem with writer’s block, but I’ve often had a problem finding the time I’d like to write. Shane MacGowan, paraphrasing Christy Moore, once said that songs are just floating around in the air and all you have to do is pluck them down. I’ve always subscribed to that, and they’ve been raining on me for the last few weeks. It’s been a wonderful distraction and outlet, and I hope a few of them are good enough to share someday.

Left to Right: Lydia Loveless, Vanessa Jean Speckman & Micah Schnabel, Shane Sweeney,. James Hetfield, Ricky Rat.

Left to Right: Lydia Loveless, Vanessa Jean Speckman & Micah Schnabel, Shane Sweeney,. James Hetfield, Ricky Rat.

I’ve also done what I expect many of us musician-types and fans have – started taking in the daily barrage of live streams and iPhone-videos of other musicians playing in their homes. I watched Micah Schnabel & Vanessa Jean Speckman from Frank Turner’s apartment in London the day after the last couple shows of their UK tour were cancelled. I tuned in for Shane Sweeney from his home in Columbus, with a guest appearance by his son. I caught a Lydia Loveless StageIt show from her home in North Carolina, Ben Nichols from Lucero going from room to room in his house playing for an hour on Instagram, Ned Hill from Nashville in his living room in Nashville, and many others. Ricky Rat (Detroit punk icon from The Trash Brats and Dead Boys) does a daily cover-song video that’s been super fun, and every Monday night Metallica is showing a full concert from their archives on YouTube at 8 pm. These Metallica videos look and sound incredible and have given me a newfound respect for the current era of the band. And then I’ve been taking in a whole bunch of friends just posting themselves playing songs by themselves or The Beatles, Tom Waits, Rolling Stones, Lemonheads, John Prine, and each other. It seems never-ending, and in different times perhaps a little annoying even, but right now I just can’t get enough and I want more, more, more.

I’ve even stepped outside of my own comfort zone and done a couple myself. I’m proud to be part of the GTG Records family, a Lansing, Michigan-based indie label, and they’re doing a daily video series called “Staying Home with GTG Records.” My contribution was a solo acoustic cover of “Voices” by Cheap Trick. I’ve got a submission in for the NPR Tiny Desk Concerts that has been posted, and on the last two Saturdays I even did the impromptu selfie-vid thing (an old Soul Asylum song and a Watershed cover) that got me out there a bit. I expect there will be more songs coming out of my own living room soon. It doesn’t beat walking into a venue in another state and bellying up with my pals I only get to see once or twice a year before we play a show together, but it’s all we got, and it’s way better than nothing.

As I work my way through this third week of isolation, save a few trips to the grocery store and a couple walks & runs, I find myself settling into a comfortable routine consisting of working, creating, exercise, and watching and listening to music. There some TV in there too (Tiger King is everything it’s cracked up to be!), and the odd home-improvement project. My wife works in health-care technology and while she’s fortunate to not be on the front-lines in hospitals, she’s working endless hours supporting those people through enabling video visits so they can tend to more patients in less time and stay healthy while doing it. She’s also helping to support the establishment of more beds and surrounding equipment in short time for the growing numbers of sick people in Michigan. I wish she had more time to play, but I’m proud of her and I’m grateful that we can be home together.

I still find myself on the anxiety roller-coaster, but I find peace in knowing that there’s not a damn thing I can do about it other than to do my part not to spread it, and maybe share a little music. If you’re suffering from anxiety, turn off the news. If you’re bored, watch some live music or some not-live music. If you want to help, stay home. Go to the website of your favorite bands and order a record or a shirt, or buy some music from them on Bandcamp. I’m talking about indie bands that need the money - Dave Grohl is a good dude, but you have musicians, artists, and venues in your city that are really hurting. A lot of bars and venues have funds set up to help their employees who are laid off. These are good people I was planning on tipping after a post-show shot after our set next month. If you want to do more still, THIS is a good article about many places that could use some help.

In the coming weeks we’ll be asking other musicians and artists how they’re coping & creating with the isolation and quarantine and sharing their responses here on Pencilstorm.

Do something creative today, stay positive, stay safe and keep up the isolation so we can get back to sharing our art, stories, and lives together again!

xx

Jeremy Porter lives near Detroit and fronts the rock and roll band Jeremy Porter And The Tucos.

www.thetucos.com

Follow them on Facebook to read his road blog about their adventures on the dive-bar circuit.

www.facebook.com/jeremyportermusic

Twitter: @jeremyportermi | Instagram: @onetogive & @jeremyportermusic

www.rockandrollrestrooms.com

What Makes a Great Album Cover? - by JCE

NOTE: I wrote this piece a while back and never sent it to Pencil Storm. I had done a number of stories with lists, top ten this or top ten that…..it got tiresome so I started writing mostly about shows I went to see, or great records. Well, thanks to COVID-19, I am not getting to any shows anytime soon, so I dusted this one off for your reading pleasure. Comments at the end regarding what you agree with and what you don’t would be greatly appreciated!


Every rock n roll fan loves album artwork, or at least most do. Some may enjoy liner notes or printed lyrics even more, but me, I love the artwork. I always have. I am the same way with my massive collection of vintage skateboards. It’s all about the artwork. Here are some album covers that I think are noteworthy:

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The New York Dolls. I was late to the party with this band, likely due to my age. I discovered punk rock and a whole new world of music starting with The Sex Pistols and The Clash. When I finally wised up to the greatness of the New York Dolls, I found this double album, which was just their first two records packaged together. Love this artwork. Glad I still own this.

Ricki C.’s two cents: JCE has been kind enough to allow me throw in some extraneous thoughts on his picks. He & I have figured out in the course of our long-distance friendship that he’s 11 years younger than me, the same age-gap as my child bride Debbie & I. In the case of The New York Dolls, that 11 year difference is HUGE. I was 21 years old in 1973 when the first Dolls record came out and it quite literally changed my life. I’ve often said - and it’s probably in Pencil Storm somewhere - if it wasn’t for the New York Dolls right at this moment I would have a grey pony-tail halfway down my back, granny glasses on & be listening to Grateful Dead bootlegs. Thankfully I’m not. Here’s photographic proof of that rock & roll transformation from the 1970’s…..

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The Ramones / Road To Ruin. The Ramones debut album cover is iconic, and I love the photo of the band in ripped jeans and leather jackets leaning against a brick wall. Rocket To Russia was good too. But this comic book style cover and the bright yellow logo and the big amps with NYC in the background is just awesome to me.

Ricki’s two cents: The first time I saw The Ramones live was in 1976 or 1977 - I was still drinking then, so it’s a little hazy - at a Columbus, Ohio bar called Cafe Rock & Roll, that three months before had been a grocery store. Best conversion of a retail space EVER.

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The Damned / Damned Damned Damned. This is a classic punk rock record. It was groundbreaking. The song “New Rose” is an amazing single. But I am not here talking about the music, this is about album covers. I don’t quite know what draws me to this one other than the super clean and simple Damned logo and the fact that the photo screams punk attitude to me (I just realized how similar the Ramones record above looks to this one).

Ricki’s two cents: I bought the single of “New Rose” because Nick Lowe produced it - and Nick Lowe was my Number One Rock & Roll Hero at that moment - and because it was on Stiff Records. What more could a West Side boy have asked for? I never had the album. (And still don’t.)

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Minor Threat. This is the debut from legendary D.C. hardcore band Minor Threat. I absolutely love this photograph by Susie Horgan. It was taken during a hardcore show at the Wilson Center, a place I went to several times. Almost everyone thinks the photo is Ian Mackaye, the lead vocalist. In reality, it is his brother Alec asleep on the steps at a Wilson Center show. Alec was not even in the band.

Ricki’s two cents: I never “got” hardcore, probably because I came of rock & roll age in the 1960’s and still needed a little melody mixed in with my love of guitar chaos/noise, hence my affection for Boston’s The Neighborhoods, maybe the greatest blend of punk aggression & pop hooks ever, and the band that is the basis for JCE’s & my friendship.

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The Replacements / Let It Be. Boy, what can you say about this. The photo seems so perfect for the unbelievable music that is on this record. Paul Westerberg’s seeming indifference is priceless. I have seen a ton of photos of this band and this one remains my absolute favorite. I recently read that the initial concept for this record cover was going to be the band stumbling across Abbey Road mimicking the Beatles record of that name.

Ricki’s two cents: Yeah, I love this cover. It’s SO Midwest. Perfect.

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The Clash / London Calling. I saved the best for last. This is my favorite record cover of all, 100%. I remember buying my copy in 1979 and the sheer aggression depicted just got me so amped to play the album. My copy had a little sticker on it that said “The Only Band That Matters.” That is bad ass.

Ricki’s two cents: I may miss Joe Strummer more than any other rocker we’ve lost, and that’s taking into account Jimi Hendrix, Jim Morrison, John Lennon, Johnny Cash & Tom Petty.

I listen to all kinds of rock n roll, including a lot more metal than I care to admit, but when it comes to album artwork, the punks get the nod! - JCE

Coffee Shop Song #1 - Standing on the Rocks - by Colin Gawel

I know everyone is dealing with something right now. “Hard Times” as Ace Frehley once said. Turning off the news and turning on the rock n roll is a time-tested survival strategy that has served me well through the years. I’ve been listening and reading all sorts of things and it’s  been fun to watch the live music streams people have been sharing. Especially during the quiet times at Colin’s Coffee.

With that spirit in mind, I thought it would be fun to try and write and record a song during my down time at the coffee shop. My whole day is sort of a live-stream so this approach had more appeal to me than staring into a camera. Maybe once I get some more coffee shop songs together I could perform them live, but until then, this is the best I can do. Everybody is just doing the best they can. Peace. - Colin Gawel 

Standing on the Rocks    

Written, Performed and Recorded by Colin Gawel March 23-27, 2020 at Colin’s Coffee

Special guest Mr. Roboto on drums, keys and percussion. 

Click here for Standing on the Rocks on Soundcloud.


The 4-1-1 on 3-1-1 - by Nick Jezierny

There are times when I’m more excited about the opening act(s) than the headliner, and this was definitely one of those times. The bill: 311 with special guests Soul Asylum and Local H at the Revolution Concert House in Garden City, Idaho.

I own most of the Soul Asylum catalog and saw their short, blistering set on the Summerland Tour a few years back. It was fantastic and the version of “April Fool” was memorable. I was excited to see them again. I might be the only person to have three Local H CDs. I had seen them back in 1996 open for Stone Temple Pilots in Dayton, and that set was pretty cool.

I knew exactly two 311 songs, but the lure of the two opening bands and a $25 Groupon offer made me pull the trigger. I prepped by asking Alexa to shuffle songs from 311 for a few days. I was pleasantly surprised with what I heard and thought I would enjoy all three bands.

I had no idea what I was getting into until I arrived at the show.

The merch line was wrapped around most of the venue when I arrived. I had never seen so many people rushing to buy t-shirts and who knows what else. I later learned 311 did a special Idaho shirt that people apparently had to have. Most in the crowd already were donning 311 gear.

I described the vibe overall as a little sketchy and part MMA. A friend described the audience as “douchy” and I did check my back pocket on a few occasions to make sure I wasn’t pickpocketed. I’d have taken the over on three fights breaking out if given the choice.

Once 311 took the stage, the crowd sang along to every word for most of the songs. I found this odd that songs I never heard of were memorized by so many people carrying beers or White Claws in one hand and shots of Fireball in the other. The 311 party was on. (For the record, I had four $8 IPAs).

Meanwhile, I was dumbfounded at the boy-bandish moves I was seeing on stage. I just didn’t get what was so awesome that was making the crowd insane. People had been packed up against the stage before Local H took the stage at 7:30 p.m. I had no idea that 311 had such a strong following, and after witnessing an hour or so of the show, I still have no idea why.

The odd part came nine songs In when the band played its cover of The Cure’s “Lovesong.” The crowd went eerily silent for the first time – just strange. Did they not know the song or just not like it? I think it’s a decent version.

Then came the bass solo. After a minute or so of that rubbish, I decided to call it a night. I checked the setlist the next morning and they played 10 more songs, which is commendable. I’m just glad I didn’t have to witness it. - Nick Jezierny


Ricki C. Saw Bob Dylan & The Hawks Live 50 Years Ago Today. Seriously.

Again, furtherly apropos of the new Band documentary - Once Were Brothers - this story originally ran in 2015.

I saw Bob Dylan live exactly 50 years ago today, November 19th, 1965 (the first time, there have been subsequent viewings/concerts/shows).  That’s kind of mind-boggling to me, partly because in 1965 America was in the middle of Nuclear Apocalypse Fever, and I didn’t think MANKIND would exist in 50 years, let alone me.  (On quite the other hand, the science-fiction stories I read and loved by Ray Bradbury & Harlan Ellison promised me a future of personal jet-packs, bubble cities and human colonies on the moon & Mars in 50 years’ time.  Instead, in 2015 I find myself surrounded by children held in thrall by iPads, asshole hipsters and terrorists in Paris.  This was NOT The Future I was promised.)

But I digress…….

November was a pretty big month for me and rock & roll shows at the now sadly-demolished Veteran’s Memorial Auditorium.  I saw Dylan there on November 19th, 1965, The Doors there on November 2nd, 1968, and The Who (touring Tommy for the first time, and for those of you scoring at home, THE BEST rock & roll show I ever had the privilege to witness) on November 1st, 1969.  There are links about The Doors and The Who shows from my old blog – Growing Old With Rock & Roll – posted  below, but you might wanna check out the Dylan link before I amplify some points.    


Bob Dylan & the Hawks Live, November 19th, 1965 / Growing Old With Rock & Roll


Anyone who doesn’t own (or download or whatever kids do nowadays) the double-CD Bob Dylan Live 1966 (Dylan Bootleg Series vol. 4) should seek it out IMMEDIATELY if you count yourself as ANY kind of fan of rock & roll music.  The electric disc of the set is as riveting a set of music as I’ve ever heard.  This was not a polite back & forth push & shove between audience and performer, this was an all-out 47-minute musical/cultural WAR.  That show – taped in Manchester, England May 17th, 1966, (6 months after I saw virtually the same show) – is the one containing the (in)famous “Judas!” / “I don’t believe you. You’re a liar.  PLAY FUCKING LOUD!” exchange between an irate audience member and Dylan.  Just as I detailed in my blog, the folkie fans of Dylan apparently sat smug & satisfied throughout the acoustic opening half of the show and then revved up the venom for the electric set with The Hawks.  (Or The Crackers,  in Levon Helm’s terminology, later to become the rather neutered entity reverently, politely referred to by adoring hippies as The Band.  My, how the times changed between 1966 and 1968 when Music From Big Pink became a touchstone/talisman for many of the the same people who slow-clapped, booed and otherwise vilified Robbie, Rick, Richard, Garth & various drummers throughout 1965 & 1966.)

Anyway, I allotted myself 500 words for this blog, and I’m getting close, so let me just say this: listen to the audience throwing Dylan & the guys off their game between the end of “I Don’t Believe You” and the beginning of “Baby Let Me Follow You Down” on the aforementioned Bob Dylan Live in 1966.  And then listen to the way Dylan & The Hawks ROAR/BLAST/PUMMEL their way into “Baby Let Me Follow You Down” and tell me that’s not where punk-rock got invented.  (p.s. Listen to that exchange at brain-numbing volume on headphones or don’t bother listening at all.)  - Ricki C.     

(bonus Growing Old With Rock & Roll, November Veteran's Memorial links:)

The Doors Live @ Vet's Memorial / November 2nd, 1968

The Who Live @ Vet's Memorial / November 1st, 1969

Levon Helm documentary "Ain't In It For My Health" - commentary by Ricki C.

Apropos of that new Robbie Roberston-centric documentary about The Band that’s currently making the rounds…….

This story originally ran in 2015. Don’t show up for the movie.

January’s presentation for the Reelin’ & Rockin’ at the Gateway series   – hosted by Brian Phillips & Colin Gawel – will be the Levon Helm documentary “Ain’t In It For My Health.”  Showtime is Wednesday, Jan. 21 at 8 pm, preceded by a 7 pm happy hour at the Gateway Film Center, 1550 N. High Street.  Admission is $5, proceeds benefitting 102.5 For The Kids.

There are only a limited number of ways to grow old in rock & roll.

There are lots of ways to die young in rock & roll: drug overdoses, airplane crashes, jealous husbands/wives, drug overdoses, accidental drowning, suicide, drug overdoses.  Did I mention drug overdoses?  From Buddy Holly to Jimi Hendrix to Kurt Cobain to Jeff Buckley, the adage “Die young and leave a pretty corpse” pretty much sums up the rock & roll ideal.

But growing old in rock & roll, that’s a different story: maybe you’re lucky and you’re Bruce Springsteen and you hold onto not only your hair AND your money, but your artistic integrity, too.  Or maybe you’re lucky like Pete Townshend of The Who and you get to spend your later years selling your ass to the highest bidder on endless “farewell” tours and CSI franchise theme songs.  Or maybe you’re not so lucky and you wind up as two-fifths or three-fifths of some mid-level 70’s band – say, Blue Oyster Cult, Foreigner or Kansas – dragging your ass around America playing the Hollywood Casino, Wing Zings, county fairs or Picnic With The Pops.

The subject of this week’s film – Levon Helm – falls somewhere in the middle of that growing old in rock & roll equation.   

“Ain’t In It For My Health” was filmed between 2007 and 2010, but not widely released until 2013, owing to various legal hassles.  (Parenthetically, I choose to believe these legal hassles probably pertained to Band member – and main songwriter – Robbie Robertson refusing permission for filmmaker Jacob Hatley to use The Band’s music in the movie.  I suppose I could have googled the reasons – or whatever you kids do nowadays – but I didn’t, so look it up yourself.)

Levon Helm died in the interim – of a recurrence of the cancer he battles in the film – on April 19th, 2012.  He was a road musician to the end.  One of his last shows was just north of us – in Ann Arbor, Michigan, March 19th, 2012 – exactly one month before he died.

There are only a limited number of ways to grow old in rock & roll.

Richard Manuel – piano player and one of three lead singers in The Band, alongside Helm and Rick Danko – died in 1986, at age 42, hanging himself from a motel shower rod after a gig in Florida.  Bass player and vocalist extraordinaire Rick Danko died in 1999, at 56, of heart failure: heart failure brought on by, in my humble opinion, decades of drugs, alcohol and road food.  Levon Helm soldiered on, making two of his best records – Dirt Farmer and Electric Dirt – decades after Robbie Robertson unilaterally ended The Band’s career with 1976’s “The Last Waltz.”  (At the moment I am typing this sentence Robertson is probably sunning himself at his Southern California manse, rubbing shoulders with Martin Scorsese and living off his songwriting royalties, royalties from the tunes Manuel, Danko and Helm gave voice to.)    

I’ve seen a lot of rock & roll movies since “A Hard Day’s Night” in 1964.  Some have been great, most are thoroughly mediocre.  This film – chronicling the final two of Levon Helm’s 71 years on the planet, roughly 55 of those years as a road musician and rock & roller – is absolutely one of my top five of the last 10 years.

And the opening shot – of a tour bus idling in pre-dawn darkness outside a Holiday Inn, ready to take Levon Helm and his band down another road to another gig – is worth the price of admission all by itself.  – Ricki C. / January 15th, 2015

By the way, I saw The Band when they were still called the Hawks, backing Bob Dylan on his first electric tour, at Vet's Memorial, November 19th, 1965, when I was in the eighth grade.  For a full accounting of that show, check out Bob Dylan & The Hawks on my old blog, Growing Old With Rock & Roll.  As stated in that piece, I either saw Levon Helm or Bobby Gregg playing drums that night - different Dylanologist books tell me different stories.  Myself, I have no idea, I was an eighth-grader that night, for Chrissakes.  All I know is, all of The Hawks - except for Robbie Robertson - had hair that was much too short by the prevailing rock & roll standards of the day.

And, all I know is, those six guys were BLAZING.