Archive for the ‘Music Reviews, Previews and My Views’ Category

48261_301408206640767_665255221_o*Recently I was asked to write a new bio for a musician friend whose music I have long admired. This is the bio that I sent to him. The entire post below didn’t make it though the editing process, so rather than leave hard-thought words flailing on the cutting room floor, I am posting the bio here. The final version can be found at Billy’s website, billyshaddox.com.

Billy Shaddox is blessed with the ability to blend the Western dualities of coastal dreamer and high mountain drifter into his deep, easy flowing songs.

Rooted in stories of love and fortune lost, perspective and enlightenment gained, Shaddox captures the mystique of the West with indelible lyrical imagery and sharply original musicality: the displaced modern man weary of coping with vanishing ideals, the present-minded realist, the uncontrollable jealousy of the downtrodden miner, and the bright-eyed morning traveler setting out to make his mark on the world.

The characters who inhabit Shaddox’s tunesy tales have a depth of personality and situational believability that leaves the listener feeling affected by their being long after their songs have woven their course.

Golden Fate, Shaddox’s newest record, builds on a strong decade of songwriting and musical performance that has now seen two solo records that easily fit into the Americana genre, along with four releases by his powerful, unheralded San Diego-based country-rock band Billy Midnight.

The record is generously layered with Shaddox’s signature lonesome Telecaster twang, picture perfect acoustic guitar and banjo work, and the soulful wail of his homemade lap steel. The lyrics are neck hair bristling at times, captivatingly laced with references to the wondrous powers of nature and destiny, the joys and travails of living simply, and the introspective importance of home and family. It is one of those rare records that, without being over ambitious in an effort to, seems to eerily match the listeners life circumstances in subtle ways that are revealed deep into multiple listening sessions.

Bouncy and evocative like the best Woody Guthrie dustbowl gospels at times, dark and forlorn in Cashesque grandeur at others, Golden Fate verily demands for to be taken out on a long, thoughtful desert drive where it should be played through barely adequate speakers that compete with the crackling of a sage and juniper campfire, echoing on and on off of steep canyon walls.

Corby Anderson

Emma, Colorado

January 4, 2013


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Mother Hips – Back to the Grotto

Magic Johnson has AIDS and I am on several hits of high powered blotter acid. I have just witnessed multiple adult male people attacking one another in complex, swinging gate row movements with real swords and fully armored suits. I have seen the sky turn a particularly deep hue of orangebluegreenredvioletohmygodlookatthatcloud!

I am on a bicycle with wheels at least 300 feet tall, and I am peddling in oblong loops and weaving my way hazardously from the cool, viney park where the original Robin Hood was filmed to the relative safety of my dorm room at Craig Hall in Chico, California.

I am in love with a girl named Jay who has dropped out of school and who uses me to create fake printouts of her straight A grades. She keeps a blow up sex doll named “Nancy” in the window of her dorm room with a bottle of pills tapes to one hand, a set of fuzzy handcuffs lashed to the other, and a pair of wooden clothes pins snapped onto it’s rubbery nipples. She has come from Seattle and swears that her friends band “Nirvana” has a new record that is going to slay me. I counter with my Bay Area stand-by, Primus, but do not really impress.

I am intercepted by a crowd of rowdy freaks. I recognize most of them. They are dormies, a mixed crowd of Craig Hall jocks and a bunch of stoners from Bradley, the neighboring building. Now I am walking the other direction, back towards town. Backpacks brim with cold beers. Joints materialize and then disappear in a cloud of smoke. The late summer night air feels superheated. A tall girl with long, slick black hair leads us. We are going to a bar called Juanita’s.

The acid is wearing off, but I am fairly certain that Magic Johnson still has AIDS. I am standing outside of a packed burrito joint on a street corner in Chico, California. I do not wonder what I will be like in 20 years. I do not think about money, or work, or bills, or sick relatives. The only thing that I can see, the only thing that I can feel is the music that blares out of the open door to the business that I stand outside of.

I am 19 years old. My brother is 21, but I have lost his identification already and he won’t get me another. I cannot enter, a large person says sternly. I want to go in. I can see the backs of the band playing. A drummer is wedged into the window box, his dirty blond locks flinging sweat droplets that catch glimmers of stage wash as they sail by. He pounds on his tiny drum kit. Dominates it. I like that he smiles a lot when he looks off to the side. He seems cool, like the crowd from Bradley.

A weird, furry black Cossack hat juts out above the shoulders of the tall fellow in the middle. He is impossibly thin. His cloths are not like mine. His guitar looks old. His voice is deep and low and high and all over the place. The guitars wail together in a way that I have never heard. The band is slow and then fast. It is country. It is rock and roll.

I can see the pretty girls lining the front of the stage, swimming in their tank tops. I want IN. I am not an outsider here. This is my place. These are my people. I ask the large person again. He ignores me. A diversion is necessary.

I have many friends. The dorms are good like that. I see a girl that I know. She is Jay’s roommate. Her name is Bean. Bean, I ask. Can you do me a favor? Sure, she says. She is small like a bean. I am also somewhat in love with Bean. I am somewhat in love with every female in Chico, California, but Bean is pretty and likes The Black Crowes too. Bean, I need you to crash. Into a pole. Use this bicycle. Fall down and be hurt. I have to go inside. I have found my people. Bean, you are also one of my people. I didn’t mean it like that.

Bean crashes into a pole on my bicycle, falling down in a heap right in front of the door man. She moans in pain and does not wink at me. The large doorman is chivalrous. Bean sounds sexy when she moans.

I am IN. A friend hands me a pitcher of Sierra Nevada. I drink from it directly, thinking it is all for me. He laughs. I spill it when my legs go uncontrollable on me in a fit. They are driven by the bass line that is played by the jock hippy who lays down a driving rhythm. The singers join voices. They have Been Lost Once. The have Been Lost Twice. They will Probably Be Lost Again. Someone yells CHEEEEK-O. The crowd screams. I scream.

I am IN. These are my people. I have never been out on that curb since.

God Bless The Mother Hips.

Corby Anderson
Emma, CO
May 23, 2012


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Travel By Sea is a long distance band. Circumstantially split into two states, and divided by a thousand miles of desolation, singer-songwriter Kyle Kersten and his musical cohort, producer and multi-instrumentalist Brian Kraft bridge the gap over the high wires, using the internet to convene and collaborate on their shared artistic oeuvre – a sparse, detached form of country that wallows in the Western themes of vast, empty nature, distant dreams, and the loneliness that haunts the forsaken.

Their third self-produced record, Two States and the Blindness That Follows, is a cleanly produced, lyrically powerful desert driver that was created in much the same fashion as the prior two records were – by way of Kersten and Kraft’s innovative method of sharing songs parts with one another (the two have only actually met face to face a handful of times, with Kersten family-settled in Southern California, and Kraft happy to pursue side careers in photography, urban farming and goat husbandry in Colorado) and sending tracks digitally for developing and mixing.

But Two States represents a new, definitive direction for Travel By Sea, as Kersten, eager to share his music with an audience wider than what can be summoned by digitalia alone, has formed a live, touring band based in Orange County, employing former 5 Foot Tuesday frontman Dan Moore, who may just be the mellowest dude you’d ever hope to meet in a morning surf lineup. Moore provided his distinctly Californian vocal harmony and a particularly contemplative bass style, while John Phinney delivered the signature pedal steel atmosphere, as well as banjo and 12-string guitar. Mick Cusick applies a steady, understated drumming, and a guitarist named Andrew Morrison rounds out the quintet, sans Kraft, who is supportive in a digital way at present. To honor his contributions, a cardboard cutout of the co-founder has been considered for live performances.

Kersten’s vocal style is calm and collected, measured for effect, and fairly unique in tone and timbre, but if pressed might evoke a few different Tupelonians. The songs here are similar in theme, though not working necessarily for or with one another. Rather, there is a common gone-ness to each, a stripped down, immune dispassion for the dashed dreams and unrealized hopes of the Bailout Generation.  Two States is a unhurried record meant to be heard while rambling on a deserted road in the middle of nowhere. Even if that road is exists only on a dog-eared map of your mind.

Two States and The Blindness That Follows is available now. Hardcopy CD’s at http://www.cdbaby.com/cd/travelbysea or digital download available at http://travelbysea.bandcamp.com/ and iTunes http://itunes.apple.com/us/album/two-states-blindness-that/id398748513.

An excellent video of “Even The Sunrise” can be found here, courtesy of Buzzy Dudley. http://www.youtube.com/watch?v=GykKSQiq_lo

Review by Corby Anderson, a freelance writer based out of a driftwood lean-to somewhere south of Moss Landing, California.

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Chilling in the Mellow Meadow

Relish: The Moment (In the Hipnic of Time)
By Corby Anderson

A Friday in Spring

When the clock thumped 3pm on the office wall, I leapt up and bolted for the door, but not before remembering to dump the leftover coffee so that it wasn’t left to stagnate and mold over the weekend. As is the custom, I pitched the chilly backwash into the snail-riddled lilacs out back. It’s hard to say which does more damage to the decrepit looking landscaping – the snails or their coffee baths, however it has been fascinating to watch the evolutionarily mutated snails peering at me through their yellowing eye-stems as they ramp up their 40-inch dash times to levels previously considered impossible for gastropods.

I waved cordially to the assorted creatives that peck away in the thoughtful nests around mine, and hit the door in a wheezy sprint, hell bent for Big Sur, on a beeline to a music festival called the Hipnic, which was being held under endless trees and swimming stars at a commercial commune known as the Fernwood Resort.

Hipnic is a fantasy camp of sorts for a new breed of California dreamers – those boomer-spawned sons and daughters of the hippie generation and its cosmic alliance of bands, drugs and social circumstance; the surf scene of Jan and Dean, The Beach Boys, and Dick Dale; the western outlaws led by Merle Haggard and Willie Nelson. These dreamers are just old enough to claim the Doors as their first concert (perhaps womb-side, but still), to understand clearly the connection between the Grateful Dead, Hank Williams, and the pre-capitalist monster that has become Jimmy Buffett. Likewise, they are young enough to have never owned a legitimately mass-produced compact disc, or to have stashed volumes of glossy, illicit “research” under their mattresses.

Hosted by the eponymous, eminent band of west coast musicians known as the Mother Hips, the Hipnic was conceived last year as an intimate, family-friendly gathering of a widening circle of “California Soul” (so named for their genre-crossing Golden State roots and generally mellow nature) bands and the road-loving herd of loyal fans and friends that make up the inauspicious scene.

The first Hipnic, held the previous Fourth of July weekend at the classic bohemian landmark known as the Henry Miller Library, just down the road from this years venue, was a rousing musical success, with summering sets by ascendant bands such as Everest, These United States, Red Cortez, the hosts, and a dozen other hand-picked acts, from straight rock, country, folk, to fully jetted psychedelic space explorers.

Building on that energy towards an organically larger vision of Hipsness, the producers chose wisely to move this years festival to an enclosed resort, so as to take advantage of the Fernwood’s full-service camping, staging, Redwood grove, riverside setting, and a relatively safe expanse of backcountry-esque space for patrons and musicians alike to wander, thus saving caravans of families and red-eyed festivitites the hassle of having to take to the treacherous chicanes and s-curves that wind along the coast, luring a treacherous mix of speed demons and lumbering rental-RV’s.

Big Sur is a vortex within a crystallized meridian, a spiritual eddy that collects a world-class gyre of drifters, artists, chess champions, woods people, surfers, and tourists alike. Just getting there tends to be an adventure into itself. The road from my office in San Juan Bautista, an old California mission town besieged by a particularly wanton and fearless gang of free-range chicken, to Big Sur, a chickless mission town of a whole different variety, is 60 miles. On a good day, when the coastal traffic is light, with few scenery grazers, and the absence of common roadside disaster, the trip should take an hour and a half.

Even with the loss of valuable time stopping in Monterey at the music store for a lowly acoustic guitar peg ($.97), I hit the light at Carmel Valley in record time, thirty-five minutes. At that rate, I projected an arrival time of 4:55pm, just in time to see the second half of the hostess, Nicki Bluhm’s band.

For twenty hair-raising (an extra-exhilarating experience for those who have recently become follicly-challenged) miles, I clutched madly and jammed gears while tracing the awe-inspiring cliffs and narrow bridges of Highway 1 on two wheels – notable in that I was driving a four-wheeled, 4,000 pound hunk of voodoo-blue Japanese Land Cruiser, and an automatic, at that.

Halfway between Hurricane Point and the lighthouse at Point Sur, I was forced to slow down when I encountered a slow-moving ambulance, which was obviously processing some sort of difficult, in-bound tragedy. The aging van, obviously a free-lancing coastal emergency service since it bore no identifying stickers, weaved across the two lanes of coastal highway; it’s blue light bar flashing and its siren squawking intermittently. Out of concern for the victim and the heroic responders who risk everything to peel the misfortunate out of their various catastrophes, I laid on the brakes and watched my speedometer dip by 40 mph to an uncomfortable, but necessary speed of 15.

With nothing else to do but slowly follow, I set the wheel against my kneecaps and reached far into the back of the jeep, to where the cooler was. I fetched myself a cold beverage and took two large swigs of prescription-strength cough medicine to help stave off a gruesome croup that had dipped in and out of pneumonic stage for the two weeks prior. My recovery had included a 5-day brace of ciprofloxacin antibiotics, and had only been complete enough to consider camping out about 48-hours prior.

My lungs, otherwise fairly virginal, had been scorched like amateur crepes by the flu and reduced to semi-inflatable butter churners, and while the Cipro had gotten rid of the mucus, the only thing that seemed to bay the tickling wind were regular doses of codeine and warm whiskey. I figured a Budweiser would do in a pinch, so I dutifully took my medicines, and then refocused on the road.

The ambulance itself seemed to be in distress. It drifted left and right, to the point of nearly launching itself off the cliff at one point. I cringed as I followed behind. Their speed was as inconsistent as their trajectory. The scene had all the makings of a worsening disaster. There is nothing more hopeless than a wrecked emergency vehicle.

I cursed the Lord of Grim and Ironic Situations, and tried to put together a quick solution.

Thinking that perhaps an epileptic fit has befallen the driver, I waited for a clear stretch of road and then gunned my truck to see if I could pace alongside the van and look into the window. My wheels pitched into the soft dirt on the shoulder and threatened to spin me out as I tarried alongside the wayward van. If things were as dire as predicted, I was going to need to apply emergency braking skills learned in my years of mountain living, but never actually applied in dry conditions, or on anything but skis, or on any path curvier than an arrow-straight bunny slope, to nothing larger than a barreling tyke.

Holding the wheel firmly now, I fought through the loose dirt and edged up alongside the drivers window, where I was greeted with a shocking sight. There in the window was not a slumped over, officiously dressed ambulance driver, but rather a glassy eyed, devilishly grinning hippy with an impossible tangle of hair regions. On his lap, facing away from the road, was a freckled, redheaded girl who wore a choker of beaded hemp and nothing else. I stared on in fascination at her unrestrained breasts until she raised her arm to wave, revealing an ungladed pit that would have made the R&D jerks at Gillette froth at the mouths. I stared on, and we slowly wove side by side down the two-lane road until I was shaken out of my trance by a loud, amplified voice.

“Hey buddy, get a good look! Yeah!” the voice squawked. It was the driver, who held the walkie-talkie to his hairy face. “Hell, take a peetcher if ya want to, but you might want watch the rooooooaaaaad hahahahaha!” he mocked in a cackling voice.

I jerked my head away from the ambulance to see before me, less than a hundred feet away, the terrified looks in the faces of a family sitting in the front of an Cruise America RV that was parked haphazardly on the northbound shoulder. By the looks of it, the family had seen us coming from a mile away, and taken every evasive action available to them other than to risk getting stuck turning all the way around on a narrow road with no exits.

With a slow-speed, head on collision a likely outcome had we carried on this strange engagement any longer, I hammered down on the pedal and summoned all of the Toyota’s 245 horsepower, and then some, blowing past the entangled hippies, around the screaming tourists, and into the straightaway that leads from the lighthouse into the town proper of Big Sur.

By the time that I dove off down into the Hipnic campground, my system was coursing with adrenaline and a contradictory mix of medicines. Excited and relieved to have finally arrived at the concert, I made my way to my assigned campsite along the far side of the river. My wife was unable to come along, off seeing to the funeral of her grandfather in Michigan, and the crew of neighbors from Monterey that had been so vital to last years experience at the inaugural Hipnic was variously indisposed or priced out of this one, and so I was flying solo, with the expectation that customarily, a family would be appointed to me in the absence of my own. Such is the gracious, endearing scene that the Mother Hips have created over their twenty years of music making, or vice versa.

I found my site, the aptly named “Area 51”, and was greeted by an enthusiastic man wearing a weathered tie die and a Cheshire smile.

“You must be Corby,” he asked.

“That’s right, where should I set up?” I replied.

“I dunno. Anywhere I guess.” I parked the truck on top of a flat spot that sat adjacent to a beautiful meander in the Big Sur River. A large boulder redirected the river to the right, back towards the highway. A small, picturesque waterfall spilled lazily down the mossy mountainside that framed Area 51, its contents trickling across the road, sliding in sheets towards the river. Unrecognizable music could be heard echoing through the grounds from the stage, and I opted to leave the setting of camp for later. Now was time to relax, see some music, see if I knew anyone, and take in the scene.

A hawk spies on Nicki Bluhm and the Gramblers, with Jackie Greene on the ivories. Photo by Andrew Quist.

Nicki Bluhm and the Gramblers. I missed them, but Andrew Quist most definitely did not!

Deren Ney and Tim Bluhm of Nicki Bluhm and the Gramblers. Photo by Andrew Quist.

When I reached the stage, it was clear that I had missed the Gramblers set that I had been racing to catch, but I felt no remorse. I would have plenty of chances to catch the sweetly music of the family Bluhm, who figured to play in one configuration or other at least four more times over the course of the weekend.

Little Wings. Photo by Andrew Quist.

I was not, however, mentally prepared for Kyle Field and his band, Little Wings. Field is a curious character, a direct descendent of the later-day Brian Wilson and songwriting savant similar to Daniel Johnston. He sings in a high-pitched sort of falsetto, with lyrics that are at times difficult to understand, let alone comprehend. Little Wing plays along with a forlorn country twang, and the whole thing is pleasant, but dissonant to my jacked up mood. As if on cue, my reaction to the band at hand fell into inconsequence as a sea of familiar faces started to materialize in the gathered crowd.

Hugs, high fives, punches to solar plexus, and laughs abounded. I decided to tour the grounds and get a lay of the land with a friend of mine from near Yosemite who had been tabbed as the official photographer of the event. He oriented me to the facilities, pointed out members of various bands, and showed me some of the shots that he had already taken since the festival started early in the afternoon. “Can you believe this place?” asked Andrew, smiling from ear to ear.

It was a damn good question. What can be believed? What can ever be verified as factually real, or otherwise figmented and drawn up in ones minds eye? Could it be that a band of musicians whom I first came to know as a teenager in college almost twenty years prior were still playing music at a level that would make me quit my job of eight years and abruptly move to California to be closer to it? Did that really happen? Am I alive, growing up, maturing into the person that the fates would have me be, or am I asleep upon my crib, my feet encased in plastic-footed pajamas, dreaming my way towards a life yet to come?

The Brothers Redwood. Photo by Andrew Quist

I looked around. A grove of endless trees reached forever into the sky. Their rusted bark brilliantly enflamed by the diving sun. A young girl of maybe eight was hula hooping in the grass with her mom. They wore matching outsized J-Lo shades, and, other than scale, seemed perfect replications of one another. A trio of grinning dudes chucked a Frisbee to each other in a loose pyramid out in the high grass of the meadow behind the stage, the one that I would come to call “Jack’s Place”, for its seeming like a good spot for a dazed and obtuse Jack Kerouac to have plopped his drunk ass down for a spell fifty or sixty years prior.

The flying disk shimmered and flashed down to earth as it caught the setting sun. The music sparked up once more and soaked into my ears, relieving them of any worrisome news, or bleating phone, or howling doubt. Here there were no seeping oil spills, no foreclosed dreams, and no terror to be found anywhere, unless an empty beer counts as such. In just one Fernwood hour, my mind had adjusted completely, and corny as it might sound, a familiar optimism had taken hold.

The Skinny Singers had the stage for the twilight hour. The Singers consist of an all-star lineup of Jackie Green, the troubadour bluesman originally from nearby Salinas who has been picked by Phil Lesh of the Grateful Dead to help carry that ever-burning flame, Tim Bluhm, the Mother Hips’ soulful front man, drummer Mike Curry of the underrated North California band Jackpot, and ALO’s (amongst other bands) Steve Adams on bass.

Skinny Singers, plus one Greg Loiacono. Photo by Andrew Quist

Green and Tim Bluhm, one of the front men from the Mother Hips, have formed an impressive bond, having created a studio together in San Francisco’s Mission District, and together they produced a truly remarkable rock record a few years back called The Skinny Singer Strike Back. Each brings their own musical and lyrical flavorings to the band, but the end result of the pairing is as distinct and original as anything produced in recent memory. Due to the obligations of their various night jobs, the Singers haven’t played more than a few dozen live shows, by my count, and even this one was not announced until the last minute, despite both being on the bill separately.

Green is the slack-eyed youth, the heir apparent to several rock legends, depending on which camp (literally, in this case) that you ask. His voice is powerful and gritty, and his acumen as a guitarist and keyboardist is approaching Allmanistic levels. Bluhm meets Green at the intersection of Abbey and Haight. Theirs is a harmonious, whimsical brand of American story-song rock that captures the imagination and harkens back to days of CSNY, Simon and Garfunkle, or even Seals and Croft.

The Singers decided to give in to the surroundings and have a seat throughout their set. Their sititude was notable, given the bounce and energy that lace through their bluesy rock songs. It was as if they were physically downplaying their combined star power, not trying to upstage the headliners, which, as it turned out, would have been sort of impossible for a variety of reasons, not the least of which happened to be the fact that the Skinny Singers include the front man and understated, VIP keyboardist of the headlining Hips. The result was a calm rendering of their relatively small, but vital mutual catalog.

I moseyed back down river to where my truck was parked. The sun was nearly gone, and my lungs were starting to revolt in the chilly air. I needed a jolt of codeine, a new beer, and a warm jacket. What I got was a small controversy and a resulting net of new friends and acquaintances. When I parked, it had been unclear what the boundaries of Area 51 were. The camping space on the far side of the river at Fernwood was pretty small, was already pretty crowded, and was situated on a fairly untenable downslope, aside from being vivisected by the gentle run out of a waterfall. And so in the absence of campers in the spot across from where I had been assigned, I had parked across the way, along the river, and had intended to plop my behemoth, 4-man then there in the flat.

In the time since I had been at the stage, two cars filled with a family from Santa Barbara had arrived, and were trying to figure out where to put their own tents up at their site, #52.

When I arrived, the adults were lying in wait for me. “Hey man, do own that truck? What site do you have?” “Where are you supposed to be camping?” they asked in irritated bursts.

I looked around. In my haste to join the party after the harrowing trip down the coast, I had scattered my chair, my cooler, and a box of gear all across their camp site, hoping to claim it as my own in case the dubious camping arrangements had somehow been botched and no one showed up. Now, standing before a rack of accusing eyes, I could see that they had me pegged as the heel that I had half-wittingly been. The sun-baked lot of them had me cornered like I was
an amateur in a prizefight. There was no sense arguing the point, especially when the patriarch, a stout-looking surfer brought out the map of the campground. It was obvious that I was poaching their site.

Yet I was conflicted. My instinct in this sort of contentious situation is to win. As Daniel Fairview once said, “I’ve got the competition in me.” And after all, I had (sort of, if promising to pay in semi-regular payments to the songstress from Humboldt who had bought a ticket but had herself booked a gig elsewhere in the interim) paid a pretty penny to be there myself, and didn’t I deserve a level patch to call my own for a few days?

I stood unsure of what to do for a moment, feeling slighted but knowing that I was basically in the wrong. Just then a young boy of no more than seven, with a tangled mop of blonde hair jutting out of a homemade ski hat started to pluck on the strings of a nylon stringed guitar. His plinking tune made little sense to anyone but himself, but it had a mesmerizing effect. The sprite’s shanty drew strong juju from the gurgling river and it’s kin, the slowly spilling falls. It was infused by the splintered light of the redwood canopy and accompanied by the dancing shadows of the buzzards circling above. The mood shifted palpably. A new sense came over me, a feeling of profound ease. My seared lungs filled with clean air, and for once, they did not spasm or convulse. Watching the boy jam with the elements, it became impossible not to smile, and when the grins came they spread like strong rays through thinning fog.

The surfer reached into his cooler and pulled out two cold beers and a box of juice. He clapped me on the shoulder and handed me a Red Seal Ale, and kept one for himself while he poked a hole in the box with the plastic straw.

“How about we drink these beers and listen to my son pick his tune?” he asked, beaming.“Sure enough,” I said. I gathered up my gear and dropped it over on the other side of the road back into the narrow confines of Area 51, then sat with my back against the stony bank of the river and enjoyed a most pleasing bottle of sun-downing ale with my new friends from Santa Barbara.

Darkness prevailed, as always, and I soon found myself at the camp of a grambling photographer named John. Andrew, John and I were standing by John’s Volkswagen bus, geeking out on the assorted electronic finery that the two of them had brought to document the event, when we heard the sudden sound of something heavy thudding down the steep hill behind us. Other than the glow from the concert lights a hundred yards away, it was nearly pitch dark, and it was only by my headlamp that we could see the boulder that had fallen roll to a stop by our feet.
“Hello?” a voice called from above. “Um, look out, I think I kicked a rock off?”
“No shit!” we yelled in unison.
“You nearly brained us all!” John yelled. His stern comment drew a chuckling response that sounded not unlike that of a woodpecker trying to bore into a bamboo pole.
“Sorry man…Uh, mans…sorry bros.” the voice replied, followed by a rustling sound, and then the clacking chatter of a cascade of smaller rocks and debris.

Andrew astutely pointed out that the hillside above was choked with a particularly potent strand of poison oak, but that didn’t seem to deter the hiker. “It’s cool. I’m, uh, just looking for my t-shirt, he he,” he said, sounding as if he himself was now falling down through the brush and trees. More rocks caromed down, and the three of us jumped back behind the VW. John looked nervous, as would anyone who’s pride and joy was under imminent threat of being pummeled by a rockslide kicked off by a senseless rogue in the night. I focused my light on the hill above. A shadowy figure emerged and perched himself atop at a cliffed out area twenty-five feet or more above the camp.

Andrew and I looked at each other incredulously. “He’s not going to try to…” I started to ask, but as the words were forming, the man came sliding down the mountain on his back, in water park fashion – feet up, arms in the air, right through a shimmering thatch of devil oak.

Photo by Andrew Quist. Spiritstandstill.com

Unknown Wookie. Photo by Andrew Quist.

He landed on his feet, and grinned like a lanky, malnourished cat. His jaw ground from side to side on some unknown cud. Sticks and leaves were entangled in his wooly red beard, his eyeglasses were askew and ran perpendicularly in front of his face, and his patchwork pants were torn to shreds – unless they were made to be that way. It’s hard to tell these days, but judging by the route that he took, those were aftermarket gouges on his knees. “Made it!” he said, laughing and hopping around like he was standing in a hot pan.
“Did you find your shirt?” someone asked. The bouncing freak stared quizzically at the three of us. “Shirt?” He asked. I could see his eyes swelling shut before the glare of my headlamp.

I spoke up, keeping my distance, in case he decided to hug anyone. I can handle the occasional case of poison oak when its of my own doing – petting my dog and such, but I’ll be damned if I was going to go from Pneumonia Way straight into Itch City just because an excitable hippy decided to celebrate his newfound surroundings.

“Look here, you’ve wallowed in the oak.” I said, looking closer. A waxy sprig of reddish-green leaves hung from the corner of his beard. It was worse than I thought.
“Holy Christ, are you eating it? Oh Mary, you are screwed. It’s in your system now, speeding around, infecting everything. Just look at yourself. Your eyes have gone toxic. They’ll be completely swollen shut in minutes. Soon you won’t be able to see a thing, and then what? You’ll fall in the river, and drown trying to claw your innards out. You need help, and quickly. I suggest you go immediately upstairs to the store and buy a gallon of Benedryl.”

The scraggly man thanked me profusely, and since I had anticipated it, I was able to dodge his attempted hugs, despite my own Seagram’s Seven and water-induced rapidly deteriorating personal balance. He ran off, rubbing his eyes like a ferocious sleep had overcome them, and we were all left shaking out heads. Just then the familiar, western toned guitars began to jangle on the stage, and we three instinctively moved towards it, Andrew cursing the “sumac-chewing wookie” as we wove our own meandering path through the redwoods back into the meadow where the Hipnic proper was ongoing.

Tim Bluhm and Greg Loiacono of the Mother Hips. Photo by Andrew Quist.

The Mother Hips are rock and roll DeLorean’s. They are, in fact, timelessly cool, whether going balls out fast or in reflectively sliding by in a slow gallop. At first glance, they look sort of angular and hard to figure, but wind them up, throw some light on them, and give them a space to perform, and they tach and tarry and confuse time itself unlike any other band.

They are singularly, genuinely nice people who happen to have made almost twenty years of music that started strong enough early on to draw the likes of Rick Rubin into their camps, and that actually – and this is indeed a fact, not just my own biased opin – has gotten vastly better with every new record. Their enigma is that nobody, it seems, aside from a growing legion of hard-core fans (and by that I mean – drive 800 miles-each way through a ferocious winter storm-to see a show hardcores) a stable of appreciative fellow musicians, and a few enlightened recording business people knows who they are. And while that may indeed madden the band members, who certainly deserve to cash in on their true artistic value, they sure don’t show it. In fact, they have made it their badge, and they wear it with humility and humor.

John Hofer of the Mother Hips. Photo by Andrew Quist.

With seven truly outstanding records, a box-set worth of unreleased gems, many solo efforts (Bluhm’s “The Soft Adventure/Colts” album has had me in it’s freedom-mourning grips for over a decade now) and side-projects galore (such as the aforementioned Skinny Singers) they are quite likely the most prolific and concurrently quality-oriented band around, anywhere. They are the Beatles, Floyd, The Dead, the Stones, the Kinks, the Bee Gees, the Beach Boys, Merle Haggard and Crazy Horse all whipped together into a totally unique sonic flavor – a golden honeycomb of tone, timing, harmony, wit, character exploration, and space.

The four Hips, with Jackie Green on keys, struck a sentimental chord early with their soft, classy rendition of The Stories We Could Tell, the unregretful Everly Brothers song. Bluhm craned his long neck out from his stooped stagger, eyes pinched, connecting with the song, the cold air, the mates to his left and right, and their friends and family that horseshoed around them. It was the perfect start to the host’s first show of two to come. It was a literal call for this mostly as-yet unbonded crowd to gather around and listen to some tall stories by the heat of the stage.

And so it went. The band churned through an hour or more of music, flashing their chops as countrymen, as ass-moving rockers, and as modern balladeers. Towards the end, the broke from a dual-guitar attack, time shifting, ironically named (had you been soberly slumbering anywhere near the main stage, though I can’t imagine too many were) “Can’t Sleep at All” directly into a bouncing, rambunctious pirate tale that I had never heard before.

Paul Hoaglin of the Mother Hips. Photo by Andrew Quist.

Hearing a good new song by a band that you identify with to the point of adoration is very much like driving a rented sports car on a curvaceous, empty road, or opening up the mailbox to find a long letter from an old friend. It captures the imagination, engages your mind in a dance of memory and possibility. It reconnects you to the essence of that pristine, original bond that formed amidst the places and faces that make up our own stories. Sure, it’s just a song, one of many, if your band is worth a damn. A new song is merely a fresh arrangement of notes, and beats, and perhaps some different twists on a style or theme. But it can be so much more when its reception is unfettered by static or expectation. It can incite a riot of wonder and appreciation way down deep in the soul.

And that is how The Anchor Out Pirates of the Criminal Bay, sung by the marvelously imaginative Greg Loiacono, bolstered by Bluhm’s harmony and perfectly timed electric jolts, and driven to a hand wringing fever by the lock-tight back line of bassist Paul Hoaglin and drummer John Hofer affected me in the liquored air of the Big Sur night.

I like to mosey. I have to move, always, unless I’m sleeping. And I can’t ever fall asleep until the last minute, when it’s just about too late to sleep, anyways. It’s the curse of the modern thinker. When I was a kid, the teachers said that I had ants in my pants, but that always bothered me. I liked to think that I had something more manly in my pants. Like rabbits, or oxen. So to keep the invisible, inevitable Formicidae at bay, I regularly sprayed my nether regions with Raid, just to make sure. And to cover up that smell, since there is no scentless Raid (and for good reason, otherwise everyone would be lathering themselves in the stuff), I used to douse myself with my Dad’s supply of Brut, by Faberge. And that is what the restroom/shower facility at Fernwood Resort smelled like at the end of the Mother Hips show on the first night of Hipnic Duex. Equal parts Raid and Brut, with a slight tinge of Selsun Blue. That, and someone had written the most irreverent graffiti that I had ever seen on the otherwise stark white plasticized wall. “Suk the Sword of Satan.”

Which is how, in a roundabout way, I wound up in the jam packed, après-Hips pre-dawn jamoney at the Fernwood Grille bar with two pint-sized whiskey drinks in my fists and a professional liar gabbing away in my one good ear, while I tried to make sense of a new thing – a rambunctious eight-star pileup of guitars, basses, and one handheld keyboard deal that an interesting fellow named Farmer Dave played by blowing through a plastic trachea.

Friday Night Hipnic Jam with Taylor Goldsmith of Dawes and an unknown grambler. Photo by Andrew Quist.

As I craned into the narrow, packed confines of the legendary bar side stage, I was set upon like a strip of mental tenderloin. “Hey!” A woman I later pegged as Barb yelled, drowning out the tunes that Farmer Dave and his friends were digging into. “I’ve got two drinks too!” she announced. I congratulated her. She retaliated by insisting on a double cheers, which is usually a disaster. It takes tremendous concentration and impeccable hand-eye coordination to pull of such a maneuver, let alone perform it while half-twisted in a crowded bar. The predictable happened: After hemming and hawing and shoulder shrugging to no avail, I gave in to her persistent, pantomimed prompting.

I hesitated too long on the upswing, and then connected with the left, but badly missed with the right and sloshed most of a spendy Woody Creek Iced Tea (Chivas and water) over her shoulder onto the back of a guy decked out in tie-dye and camouflage. I don’t think he noticed, but the lady behind me did, when Barb’s’ wine went in the opposite direction. A shriek lit up the night for one hot moment, and I took that as my cue to bail. Conveniently I was nearer the back than I was the stage, and it took just a few swift sideways slips to duck out before the wine-splattered missus had her complete and rightful fit.

I emerged by the Galaga machine and the front door, and briefly considered running all of the way out, but the music beckoned, and in one glance the blinking colored lights of a simulated challenging stage by had me transfixed in their glare for a crucial split-second, and by the time that I snapped out of it, Barb was back by my side, wanting to know what I did for a living. Her tenacity shocked me, and with no other avenue of escape, I decided to humor her. I told her that I was a health food consultant, which is not that far from the truth.

“Oh yeah? And what exactly do you consider to be health food?” she asked. I thought for a moment. I wished that I were free of summary inquisition and nearer the band, which was raging by now.
“I suppose that anything that does not immediately kill you upon consumption should be considered health food,” I said, and sipped my remaining beverage.

She went on in depth about the nature of kale and how it can be used to heal everything from encephalitis to menstrual cramps. I tried not to engage. Then she asked me to ask her what she did for a living. I told her I’d rather guess, so she told me anyways.

“I get the ball rolling on peoples updates on Facebook,” she said with a straight face. She sensed my radar perking up, and drilled in.
“You know when someone famous makes a post? Well, I first it.”
“You do what?” I asked.
“I first it. Virginal posting.”
“For a living?”
“It’s high science. A social experiment. Google pays me.”
“Google pays you to make comments on Facebook?”
“Well, not comments. Firsts. But yeah. Big time! Twice a month, like clockwork.” she said, bubbling over with unbridled enthusiasm. I was completely confused. “Wha? How?…are there others?”
“There are now, but I’m the FIRST! Hahahaha. The virgin virgin!”

Some people can’t be shaken. They are wanton energy vampires – human spirit-suckers who deign to hold conversation when in reality they are mind-vaccing the very marrow of your being. And I don’t mean to speak badly of Barb the internet cherry-buster, but by God the woman had me pegged as some sort of officially ordained listener, when in truth I wanted nothing more than to stand in mass solitude and absorb this late-night gramble without having to ooze myself downhill to my still yet-to-be-pitched tent as a victim of catastrophic energy-disgorgement, which is what ultimately happened.


There is only one situation in which being unlucky enough to be saddled with a urinary catheter can be considered a positive situation, and that is if you happen to pass out with a gallon of saloon swill in your system and a stereo-suggestive setting of a slowly trickling waterfall on one side of your tent and a gurgling river on the other. I was not so unlucky.

The sky-scraping canopy splintered the ascendant Saturday sun. Its beaming rays bore into my tent to selectively pierce my slumber, signaling a new morning and triggering a sudden, awkward awareness of an internal urgency. I cursed my catheterlessness as I tried to kick my way out of my sleeping bag, sparking off an unholy cramp that seized the entire underside of my left leg.

Grunting and swearing like a playground bully, I clawed the nylon floor, pulled myself out of the tent and onto the dewy leaves and cold pebbles of the ground outside, and squirmed painfully out of my synthetic down cocoon. The air was still and sweetly scented. My neighbors waved hesitantly from around their morning fire as I stood on the cramp and gathered my bearings. I breathed as deep as I could, letting the mountain air in and hoping that I wouldn’t revert to a spasmodic coughing fit. But the air filled them perfectly. My lungs felt finally free of the pneumonic grip that had nearly ruined me just days before.

“Hipnic!” I croaked, my voice shot from the prior nights revelry. “Indeed,” the surfer replied. “Day two, ready or not!” he called from his bacon station. A pair of kids and their mom stood wading in the river, the kids stood near the bank and were swamped up to their waists, the mother knee deep in the lazy running creek.

The water called to me, and I hobbled down the bank and submerged myself with a plop, kneading the iron knot in my leg. After a minute in the chilly water, the cussed cramp eased enough to stand aloft, and without drying off I bid the Santa Barbarian’s as good a day as I could muster before making a hamstrung lope for the stage-side restroom to complete my original mission and get ready for the day ahead.

Near the stage I ran into Andrew, who was sitting amongst the plastic chairs with Greg from the Mother Hips and his neighbor from Marin, Scott Thunes, a wise eyed fellow who once served as Zappa’s bass player. Heady company. We were joined by a tall fellow in a lopsided cowboy hat named Jesco, the singer for a semi-defunct Chico band called the Keystones, whose rhythm section split off in the early 90’s to become the original Mother Hips’ back line – a tandem that produced outrageous time-changing California rock for quite some time, until kids were born, and styles evolved, and ways were kindly parted.

The conversation sailed in the morning air like a slow Frisbee. Back and forth. Here and there. Easy as it goes. Smiles were paid back with laughter. Laughter with knee slaps. Knee slaps earned howls. There was a sensation of infinite possibility lofting about. There was so much to do yet, and

In the field of grass to the rear of the stage, a juggler practiced to the serenade of a solo banjoist. Greg grinned from beneath his stylish-once-more black Wayfarers as Thunes diddled with his iPhone, effortlessly tossed out a breadth of ponderous facts, and regaled us all with Zappa tales tall and wide. Somehow the conversation turned to soundtracks, a topic that allowed me to bring up a question that I had been meaning to ask Greg.

Just two nights prior, as I fought the croup tooth and nail into an exhausted, sleepless stupor, I curled up under a blanket of made of old t-shirts that my mother and grandma made me long ago and mindlessly gazed at the TV. We had recently gotten the pay channels for the first time, and with no other options that seemed interesting, I dialed up a movie on the Independent Film Channel called “The Babysitter’s.” It starred John Leguizamo, a respectable, if strangely pan-faced actor whose performance is typically enlightening in some way. If I were to rate pre-Babysitter’s Leguizamo, the watchability factor for his vehicles would have to rank somewhere around those of similar urban actors such as Mark Rufalo, or maybe Terrance Howard. I generally don’t get all that excited, or all that disappointed by their performances, but I do seem to always come away thinking that I know the guy that they are playing, if that makes sense.

And I should couch this with a brief statement about my own threshold for shocking artistic content. I’ve yet to find it, and I have endeavored to do so. Best that I can tell, I really don’t have one, that is, other than total gore or meat grinder cinema, like the Saw franchise, or replays of election night in the year 2000.

But even in my zombified state I was not prepared for the uncomfortable foray into child-prostitution that the plot heralded. Leguizamo, and his high school babysitter started a call girl service, enlisting his middle-aged buddies to hire the sitter’s young friends. The movie turned seriously creepy when they whole illegal, super horny gang stole away for a weekend of ill gotten debauchery in a cabin that appeared to double as a Roofie factory. It was easily 4 in the morning by the time that the cabin scene came on, and I hoisted the remote to kill the thing before I was further distressed, and just as I fingered the power button, a familiar tune sparked up. It was the unmistakable 13 note walk down that signals the start to the song “Red Tandy,” by the Mother Hips. My favorite band. A band that I had watched grow strong and curiously unfamous over the span of nearly two decades, and a band whose decidedly cinema-friendly music, to my knowledge, had not ever been used in a real movie. “It was a terrible scene, Greg!” I said. He grimaced and leaned so far back in his chair that I thought the plastic legs would twist and collapse. It was as if he was trying to duck away from the news. “It was ugly, a rape scene. But it was your song, and I couldn’t believe it. I was torn to pieces, you see…”

“I know!” he replied, laughing. “We had no idea. We just heard from Jon (Salter, of Camera Records) that it was some indy flick, a modern romance. He said Leguizamo was the lead, and that the producers wanted to pay a few grand to use our song. Then months went by and we heard nothing about it. Until…well, someone told me about the scene. We were shocked! It’s just crazy.”

“Panface,” I said irritably. Thunes picked up on the comment. “I noticed that too! It’s like his cheeks have been frontally compacted or something.” We all chuckled. “I saw the same thing happen to Jimmy Page. I was watching a video of Zeppelin playing “Immigrant Song,” you know – the BOM BOM BOM BADOW, BOM BOM BOM BADOW part, and right before my eyes Page’s face flattened out like a startled gecko. Instant pan face. He’s never looked the same since.”

It was Derby Day, and I was itching to get upstairs to the bar to see what the line on the race was. I generally pull for the seventh post, and on this day a dog named American Lion held the lucky spot, and his line was a sketchy 30:1. No matter, I had no money on the race. But the pre-race chatter always gets me piped up, and it seemed like a good way to unwind from all of this unwinding. Also, I needed sustenance. It had been a long night, and my innards needed a healthy coating of grease to return to proper working order, and there was rumor of a breakfast buffet with a 10am cutoff. I asked what time it was, and a quartet of cell phone displays told me that it was 9:35. High time to motivate.

On the small stage that sits in the far corner of the Fernwood’s funky deck overlooking the campground below, local boy Levi Strom and his band played a morning set of golden-toned Big Sur folk while we feasted on plates piled high with sausage, scrambled eggs, fruit chunks and chalky biscuits. Bloody Mary’s, beers, and a perfectly good glass of fresh squeezed orange juice that had been raped by a bad dose of tequila littered the weathered redwood slab that served as our table. “I need bacon,” I said to nobody in particular. “I can’t listen to folk music in the morning without bacon. It just doesn’t seem right.”

I went inside to see the cook. He is a stout man in his 40’s, with a ready grin that seems to run contrary in spirit to his neck tattoo. The cook was pulling the last remaining steam pan from the empty buffet table. He must have sensed my dismay, and asked if I’d gotten enough to eat. “Sure, sure. It was a fine meal…” my voice trailed off. I stared at the pan in his iron hands. “But?” He found my gaze. “Well, I could use some bacon, I guess. It helps to render the old beer,” I said. He laughed and disappeared into his kitchen. I glanced over at the Galaga machine and my stomach leapt. Barb the Firster was hunched over the game, carrying on a conversation with dive-bombing space demons. I slid around the table and out of her view plane.

The cook emerged with a wide grin and an oily napkin that held four crispy strips of bacon on it. “Found a stash in the back. It’s yours,” he said. “Oh man. Major score. Thanks!” I said. I scooped up the strips and started to turn, when a notion of gratitude came over me. “Hey, you know, you guys out here get a bad rap.” “Oh yeah? Whadya mean?” he asked, his voice ascending suspiciously. He did not look up from his task of cleaning the long table that fronts the roadside window.

“Well, the old line is that most of the Big Sur locals are dicks. Real hard cases. Rude and ungrateful to the visitors and their money that comes from all over to see this place.” The cook crossed his arms and took a defensive stance. “But I’ve never seen it. I’ve had nothing but good times here. You all put on a hell of a party, close late, and come right back for more the next morning. And these tourists come at you in waves, so I wouldn’t fault you a minute for getting overwhelmed by it all. A man has to protect his turf sometimes, or else the visitors get a little too comfortable. I’ve seen it in Aspen. People take certain liberties, and given enough leash they tend to go spastic and start thinking that the locals are just window dressing in their grand shopping spree. No. You all handle it pretty damn gracefully if you ask me.”

The cook laughed, grumbled about backhanded compliments, and then dismissed me with a three-fingered, temple tapping salute. I wandered back out to the deck with a fist full of pork. “What this party needs is some salt water!” someone said. “Let’s go to the beach!”

Our crew saddled up in two trucks and rode the mile or so up the coast out to Andrew Molera beach. I led the march to the sea, claiming to know the way, and predictably, we were lost within minutes of striking out on the trail. “Um. I think that I parked in the wrong place. The trail I’m thinking of is up the road a piece,” I said, slightly embarrassed. Like all men and unfarmed salmon, I pride myself on my keen sense of direction. “We’ll just follow the river. It runs into the ocean up here a piece.”

We strode into a fierce, wilting wind. Point Sur, the geographical elbow of the California Coast that Andrew Molera State Park sits adjacent too, is one of the most consistently persistent windy places that I have ever seen, and on this day the gales were in plus mode. Tall, arching waves of poison oak spilled over our heads on the narrow trail, and we filed along singly while ducking and dodging to avoid contact with the swaying sumac. “Hey Magellan, how much farther up here is it?” hollered Jesco from behind. “Gramblers are on at 1.” I thought for a minute. I didn’t rightly know, given the foreign nature of this particular stretch of trail, plus the canyon of hateful weed that we were channeling through. “Oh, it’s right here. Right around the corner!” I lied. “How about a beer?”

A half-hour, or maybe more, later, our beleaguered band of explorers emerged out of the thicket and to the mouth of Molera State Beach, an arching strand of white sand that horseshoes around an asymmetrical black rock cove. The lumber schooners called small coves such as these dog-hole ports, a colloquialism that stemmed from the tight confines of the lumber ports along the west coast, just big enough for a dog to fit in.

There were no pooches at Molera on this day, though there were a bevy of surfers, beach walkers, and a few scraggly kids who were just weighty enough to not fly away, if barely. The beach is bisected by the chilly, steady streaming river that pours down out of the Lucia range. Fording the river proved to be a challenge at high tide, but eventually we all made it across, though several of our group had to de-jean to get across the hip deep stream. With the wind screaming in at a steady clip, we sought shelter in the driftwood shacks that stud the beach. There, we drank sandy beer, failed repeatedly at the most fundamental aspect of smoking, and found great humor in the re-jeaned Zach and Diane as they attempted to fly a shiftless kite.

A lone surfer braved the chop and rode the shore break to measured success. I suppose that much like skiing, any day in the water is a good one, and even after enduring such hairy conditions, the bushy-bearded dude beamed with unmistakable sea-stoke when he finished his session. “I think that’s Kyle, from Little Wings,” Jesco said. “That guy rules ass.” I nodded and looked down at my wrist to check the time. Strange, that habit, since I haven’t worn a wristwatch since someone stole my Star Wars watch from my cubby in the 1st grade. “Hair past a mole again? Guess we oughta mosey, eh?” said Abbie, Jesco’s lively sigO.

Zach chased down his errant, defiant kite, and after a hilarious undertaking that tested the wits and strength of three and a half people, we got it broken down and packed up into it’s fiercely flapping plastic bag. We waded back across the stream one at a time. An invigorating sensation of mild, but instant hypothermia elicited howls from each who entered and hoots from those that waited on the other side. A particularly tense moment occurred when Andrew, the photographer, nearly pitched over mid-steam when a rock rolled under foot. It would have been an artistic and economic disaster had his gear bag gotten wet, as I had been privy to some of the incredible images that he framed the previous day, and also because he was shooting with a nearly brand new camera and a rented lens after having recently suffered the total loss of his spendy rig in a tragic tripod collapse along the banks of a Yosemite creek. I held my breath when he stumbled, and Abbie yelled at him to throw the bag across the rest of the river that he had yet to cross, but he pulled it together and made landfall with his potent Canon undoused.

The walk back seemed to take far less time than the inbound hike had, but that always seems to be the case, doesn’t it? Interestingly, I’ve always found it to be the opposite when driving. Several of us ducked behind a tree to partake of some North State finery, and then trotted to catch up to the rest of the gang who had motored on up the trail. I caught up to Zach on the far side of a bend in the trail. He was stooped down, tracking something that was slithering on the ground. “SNAKE!” I yelled, skidding on the heels of my well-worn flip-flops. “Good lord, get away! They’ve got rabies, and fangs!” I yelled, backing away. I hate snakes. Especially little ones. They say those are the ones that will kill you the deadest. Their venom is super concentrated, like powdered Gatorade. When a pasty American hiker calf is in their sights, their jaws unhinge grotesquely, and then lock down on the nearest flesh meat like those of an iron-deficient pit bull. Once a young snake has its hooks into you, you might as well limp off and jump headlong from the nearest cliff, otherwise the end will come much more slowly and brutally, but just as surely.

“No snake, centipede,” Zach said. “Or millipede. Can’t remember which is which.” He had the long bug on a stick. I crept in, unsure. The bug was black and covered in quills. It inched along in a bewildered state. Must be strange to be cruising along on flat ground, and then suddenly held aloft in space on the edge of a branch by a giant hippy from Chico. “Still looks dangerous, ” I said, and meant it.

Zach was about to let his leggy prisoner free when a family came down the trail. The father was ahead of his pride, and when he reached us he motioned excitedly to his young daughter to come see the wildlife. The girl was no more than five, and held in her hands a magnifying glass formed in the shape of a frog. She rushed up and gazed down on her study with one huge eyeball. “Look mama, a cinnamonpede!” she lisped. “No honey, it’s a centipede, isn’t that right boys?” she nodded a knowing look at us. I shrugged. Zach chimed in happily. “I think it’s a millipede. It was so many legs. That’s the big difference…I think.” The snaggle-toothed girl looked up at us, and I noticed the bug become extra agitated. It’s black quills shown brightly under the focused light of the microscope. I looked up. The midday sun was beaming down on us from directly above. I closed my eyes and felt it’s heat wash over my face, lingering for a second to enjoy the warmth, a rarity in the El Nino-confused months of rain that had besieged the coast since last summer.

A shrill scream shattered my Zen. “Oh my god! It’s on fire! Put it out! Put it out!” I heard the father yell. I looked back down and the centi-millipede was beset by a tiny wildfire amongst its spines. Zach was in drop-jawed shock. He waved the stick in the air vigorously from left to right, but the action only caused the flames to strengthen. The girl sobbed uncontrollably, her eyes covered by her small hands, other than a gap between her middle and ring fingers from which she peered with terror in her red eyes.

In the corner of my ears, I thought that I heard a series of tiny screams in protestation of intense pain and untold suffering. It was too much to bear, and I yelled for Zach to drop the stick. He did as directed. I swiped my left flip flop off and prepared to slap it down on the flaming bug, intending to lightly pat the flames out. But just as I lined up my shot, a heavy surge of adrenaline swept through me and my emergency strength overshot the appropriate measurement. I succeeded in putting the flames out with one swift downswing, but in the process I squashed the big into a greasy, smoldering mash.

Suddenly, all was silent. I looked at Zach, and he looked at me. Neither of us could bear to look at the family. Zach’s face was frozen in a surprised expression, the look that one might have if they were in a room of people that were all suddenly sucked into a self-closing sinkhole. “Well, um. I guess I put it out, he he,” I managed. “Might want to give a minute to recover though. Its, uh…Its been through a lot in a very short period of time,” I said, trying to let my optimistic nature show through in a tight spot. They say how you react in times of crisis makes the measure of a man, so I did my best to comfort the shattered child, and then pointed up at a fake condor and sprinted off up the trail, dragging Zach by the looped strap atop his North Face backpack.

Back in the wooded confines of the Fernwood, we pulled down into the campground below right as the unmistakably tall and narrow duo of Tim and Nicki Bluhm descended the stairs that lead from the topside bar and grill. They walked hand in hand, and gleamed with a certain sincere joy from beneath their super-sized shades. I looked at the clock on the dashboard and winced. “Ah shit, did we miss the Gramblers?” I asked as we pulled alongside. “Yup. Where were you?” Tim chided. “At the beach, sunning, and winding,” I replied. “AT THE BEACH! Whatever would you do that for?” laughed Tim, who might very well be the most beachy person that I know. He slapped the Toyota in the ass like it was an old trail mule, and I took that as our cue to motor on to camp.

One of the truly outstanding aspects of the Hipnic is its intimacy. There are only three stages, the entire event is self-enclosed and immediate, and the crowd, if you can call it that, numbered in the low-hundreds rather than the tens of thousands that most rock festivals command. There is room to roam, space to space out in, and yet due to its small canyon-bound geography, you are always there, with the music. The stage is unassuming. There is no scene-dominating steel truss girding, nor overwrought light and sound spectacular to contend with.

Unknown Hot Woman. Photo by Andrew Quist.

Rather, Britt Govoia, the fast-rising producer who helms the locally-based production company known as (((folkYEAH!))) opted for a simple plot of two-foot tall risers spanning across about a twenty foot stage whose backdrop was as natural as it gets – majestic conifers, bushes of unknown phylum that burst in every direction with tiny purple blossoms, overhanging white oak branches that looked like suspended whale bones, a precipitously carved, denuded Lucia Range mountainside all gathering around the wispy green meadow that floors the bottom lands below. It was a welcome sight, but strange on eyes that are used to seeing a near and cluttered backdrop at high quality rock shows. Photographers and video people love to talk about their depth of field, but this scene took that notion to unheard of levels.

Red Cortez. Photo by Andrew Quist.

It was against this backdrop that Red Cortez, a gritty quartet of Los Angelino’s put on a midday concert that elevated the musical barometer with a mercurial nut punch. Led by singer Harley Prechtel-Cortez, the band roared through an hour’s worth of spunky, bouncy rock. Prechtel-Cortez looks somewhat like a young, un-rouged Dave Navarro, the glam-punk guitar god of Janes Addiction and Red Hot Chili Peppers fame, and has distinct tonal qualities of Elvis Costello and Bono coursing through his vocal pipes. Like Bono, Cortez (the dude, not the band on the whole) is prone to erupting into extended flights of neck-vein inflating lead wail at any time, even in casual conversation and on line at the taco truck.

They are a relatively new band (their debut record is due at the end of this year), and their sound has matured and tightened considerably since last years Hipnic – where they impressed with a tenacious effort. Red Cortez employs an intense two guitar attack, with a back line that pulses and careens with climatic builds, pauses at just the right moments and then drives home their ambitious songs, thus leading me to rename them Shred Cortez. They earned it. If and when the chance arises, I’d see that band again in a heartbeat, and I am willing to bet that they will have gotten even better then. They have that rare quality – an unpretentious swagger and confidence in their music that really good songwriters and performers, and the occasional deranged street busker, exude.

When their commanding set ended in a series of long, preternatural howls, I wandered lazily down Grotto Row, a series of riverside campsites that had serendipitously been allotted to various groups of folks who have kept up with the Mother Hips scene via a beloved and well-informed fan site that is known as The Grotto. Each site held different members of that tight-knit family, and their own families. An army of gleeful kids played in the sand volleyball pit that serves as an island in the campground. They built sand yurts and sustainable villages with tiny solar arrays and windmills made of Popsicle sticks. A pair of tow-headed engineers cleared cat-taminated dunes for development with electric front loaders. The older kids played tag, and threw things at each other with unrestrained velocity. At least one kid hit the game winning home run in the 7th game of the 2020 World Series with a bat that was longer than he was tall. It was an improbable feat of high physics, and was celebrated with an impromptu shower of Bug Juice and a fresh coat of SPF 50.

The parents sat at picnic tables filled with crackers, cookies, and various cooking devices. They tended small fires and laughed at their children and the world at large, wherever it was, or is. Many of the gathered trace their mutual Hipsian connections back to the early 90’s, when they, and the original members of the Mother Hips, pretended to be chasing a higher education while stomping like drunken rhinos around the now-legendary North California party town of Chico.

A whiffle ball game broke out across the way amongst the gang that I had hiked out to the beach with. From a hundred yards east I heard the tale-tell whistle of the plastic ball and the subsequent thwack of the yellow bat, and quickly hustled over to join the fray. Whiff, you see, is my thing. Well, was… In my own Chico daze, our houseful of scrubs and dirtbags once ran a veritable Whiffle Ball enterprise out of a front yard field that we dubbed Oleander Yards. Shit got out of hand, really. A row of impenetrable trees were sacrificed, much to the consternation of the City and our landlord, and Jack, the resident mad genius, strung up a hazardous array of bare light bulbs attached to power lines and pirated cable runs that criss crossed the yard so that our outrageously competitive games could go on when the scorching summer sun finally fell out of sight. Roommates and brothers bickered bitterly for days on end over the capricious fates of ghost runners and long shots that flew heroically out into the street but were called back as do-over’s due to passing cars. We kept stats then that are still trumpeted and boasted about today. One guy, Pete, never left Chico. Word has it that he has built an entire whiffle ball stadium, complete with working scoreboard at his house there.

Parson's Redheads, by Andrew Quist.

As the Parson Redheads twanged out a set of perfectly mellow California rock from the sun-drenched stage nearby, I confidently tugged my hat down low and screwed on what I thought to be a menacing glare, but was later told looked more like a bad caricature of Fred Burst taking an unplanned dump.

I jammed my lower lip with a ridiculously oversized chaw of tobaccy, then took the mound and tried to re-master the Emphi pitch, a devastating dual-stage breaking ball that when thrown correctly is essentially unhittable. Those halcyon days of Whiffle-domination are behind me, I suppose, because when the lefty-slider-drop ball pitch wasn’t sailing wickedly wide of the plate, plinking random campers two sites over, it was refusing to break at all before being driven cruelly deep into the redwood grove that served as our outfield. Like all impromptu adult picnic games, the afternoon whiffle ball game ended when our collective interest in drinking a cooler full of ice cold beer superseded our interest in chasing the bouncing plastic ball into the woods.

There is a meadow in each and every mind. It lies in a pool of unvarnished sunlight, the high grasses tickled by a slight breeze. Infantile, boldly hued buds sway in showy unison, bending slightly this way and that. If you get low enough, dropping yourself down to eye level, belly-down in the dirt, you can witness a universe of miniscule life forms coursing through their vertical plain, striking out on independent missions of unknowable import. But you must get low. You must dive below the glowing wheat and glide face first through the stems. To know your meadow, you must wade low amongst the sub-canopy, flow through low clover, taste the warmth of the earth on your lips, sip the evening dew from the blades where they condense and sparkle. The lady bugs flitting on improbable wings, the worms blindly tunneling, the grasshoppers tuning their summer song.

An orchestra of tiny life existing in a sea of grass. A teeming world of roots and shoots, weeds and seeds, bugs and slugs. It’s all there, in your meadow. Also, it’s where you might find your only can of Copenhagen, should it happen to slip out the thigh pocket of your ratty shorts during a spirited game of trackball. I found both, together.

Nicki Bluhm displaying one of her many talents. Photo by Andrew Quist.

I missed a band – a good one, I heard later. Elisa Randazzo, a honey-toned songstress of note, conjured a mellifluous set of Laurel Canyon brand California folk rock it seems. I spaced an entire hour of music, picnicery and socializing. But I found myself in that meadow, and that sort of self-discovery is worth a dozen confused looks cast when you emerge from your deep-root adventure with a face streaked in rich soil and a toupee made of dandelions, wild grass and spider webs.

As I rounded the bend and rejoined society, I saw a suddenly very retro crowd cheering on a familiar figure who was standing atop the stage risers. I could swear that it was 1979, and that Neil Young had just ambled onstage. Upon closer introspection, it was not indeed the decade before the decade before the decade before this really shitty decade, though it was quite close when spied from a crooked head. It was Neal Casal, who is a dead ringer for Shakey in profile form. I kept moving, like Snapperheads made light of my recent earthly makeover as I tried to find my friends and a reasonable bottle of booze. “Looks like you just lost a fight with a lawnmower!” someone said as I walked by. “Been out rootin’ around?” chirped another. And so on.

Neil Casal. Photo by Andrew Quist.

Casal exhudes the unkempt, windswept regality of a noble troubadour. Perched on a stool, just a well-seasoned Gibson acoustic guitar and a pair of mics between him and the crowd, the singer seemed to have been made precisely for his moment in the sun, as if he had been carved right out of the local woods, and slowly smoothed into shape by the sands and the seawater, before being plucked out of the surf and deposited onstage to tell us all how it went down.

Casal is a Cardinal, one of Ryan Adams’ regular band mates. His solo work is thoughtful, catchy, and lyrically evocative. His fingers flow over the frets unhurried and light, the guitar more of an organic extension of his arms than a foreign beast that must be constantly tamed. His angled face beams widely on stage, soaking in the fading sun. Casal was dressed in an old Army coat that contrasted and popped vividly out of the posterized blue-sky background. An emphatically pained brow and louvered eyes were the only indicators of tension in an otherwise calm reel of songs by Casal. In a sweet homage to the hosts, he played a timely rendition of Tim Bluhm’s timeless ode to the Golden State, “California Way.”

Farmer Dave Scher. Photo by Andrew Quist.

A loose cat named Farmer Dave played next, finally leading a band of his own after serving as the de facto Hipnic multi-instrumentalist session man for just about every other band that played over the course of the weekend. Wielding a golden Flying V, Farmer Dave Scher brought the sun most of the way down with a set of slightly off-kilter, poppy psychedelia, cementing himself as the Most Versatile Grambler. The crowd was now primed for action. Hula hoopstresses spun in warbling arcs around the front of the stage. The women were in their evening finery – wide brimmed hats, sundresses and cowboy boots, a much more utilitarian outfitting than that of a curiously dressed swath of men folk. Fashion wise, for quite a few of the males in attendance, it was as if the Sex Pistols had mated with Grizzly Adams. In almost every direction, rail-thin dudes with badly snugged jeans and heavy coats stood around. Each was bearded or heading in that direction, and each seemed to try to out-irony the other with their choice of shirt and hat slogan combo.

Over at the merch booth, a young entrepreneur was bilking unsuspecting mathaphobes out of their last nickels. He nearly got me, too, but I wised up just in time. I had gone over to the table to inquire about procuring myself a nifty Mother Hips beer coozie like the one that Jesco had been sporting.

A troublesome aspect of Mother Hips fan hood has always been the wildly sporadic disbursement of logoed goods, and a beer coozie was not only a welcome addition to my crusty collection of too-small Hips t-shirts, it was a novel concept, it was one that was going to come in right handy. In fact, the cold Stella in my right hand was the real driver in spurring me to action from my spot of leisure by the campfire. But young Noah Loiacono, the tack-sharp pre-teen son of Hips guitarist and singer Greg – a savvy kid who has been raised in rock and roll since he was just a zygote, was hawking the goods, and the tyke threw me for a loop when I asked how much the cool beer holders where.

“Five dollars,” he said enthusiastically. “Well then, I believe that I’ve got enough for two!” I said, matching his capitalistic fervor. “That’ll be twenty dollars!” he replied.
I looked at him quizzically. “You mean ten, right? I’ve got a ten spot right here little buddy…jest you wait!” I said pawing around for my wallet. He looked down at the table, and then into a cardboard box at his feet. “Only two left, it’s your lucky day! Forty dolla! It’s a collectors item now.” I scratched my weedy head. “I’ll take door number one, Mister Trump. A single for $5.” He looked down at the coozie on the table. “Deal.”

Realizing that I was still naturally camoed from my meadow foray, I took the opportunity to clean up and layer myself for the evening chill that never seemed to come. My all-too-recent pneumonia had mysteriously, and thankfully retreated entirely, and I was cognizant of being able to finally draw in a full chest of fresh air without lurching into an empyhsemic fit as I dawdled by the camp fire. Not even the smoke choked me out. I was free at last, and the very realization of the unexpected and apparently total recovery had me bounding with joy and relief. So I started on the whiskey again, and spent the rest of the night pleasantly two-fisted.

It was at this moment in time when the Hipnic transitioned from its relatively sedate daytime campout permutation into a full-blown Big Sur rock show once and for all. Dawes was the harbinger. To borrow a baseball analogy -they played the role of set up man with a closers fury. The sun faded off and the stage lights found their marks on a rising band that seems destined for commercial success, perhaps more so even than the major, and worthy acts that followed, due to their lyrical prowess and boundless cache of hooks and dramatic builds.

Taylor Goldsmith of Dawes. Photo by Andrew Quist.

Looking all the world like a middle manager on a four-day coastal bender – scruffy to the point of semi-haggardness, but relaxed and peppy – Dawes front man Taylor Goldsmith belted out a cavalcade of harmonious Laurel Canyon rock tunes. He has the story-song writing sensibilities of James Taylor combined with the urgent angst of a young Billy Joel, and is backed by a band that is talented way beyond their years. Drummer Griffin, Taylor’s fro-bound 18-year old brother is a unconsciously flinching dervish behind the skins, pounding beats down with both arms flailing independently, as if his kit was infested with musical groundhogs popping up in unexpected sequences. Such is the fervor and pace of his manic rhythm.

Their song When My Time Comes is a driving, inspirational anthem that features a Seven Bridges Road-style instrument-less harmony at its close and may well be THE song of the Summer of 2010, if their advocates at ATO records are able to get the word out to the masses. Their record is called North Hills, and is filled with catchy songs about love lost and the poetic yearning for peace of mind and a good laugh in a world gone sad. When their set ended, a huge cheer went up from a crowd that seemed awakened, and charged. I half-expected the young (average age of 21.5 years old) band to step off the stage, grab the prettiest women by their hula hoops, and surf heroically down the Big Sur River on a raft made of road cases. They were that rock.

Dawes, by Andrew Quist.

If you know what you are looking for, you can spot an DEA agent every time. It’s no cakewalk, but it is possible. It takes a healthy dose of innate paranoia to have your radar up in the first place. But if you are one of those types who take new routes to work every few days, then the process is fairly straightforward, once you suspect a bogey is in your midst. You just have look closely at the details. Listen for the code speak. Spy on the spies. And, if engaged, confuse the living hell out of them.

I spotted the plants early on. They were camping in a too-new Airstream hybrid of some sort. No windows, lots of aerial rip rap on the roof, a sinister looking dish cleverly marked with a common carrier sticker. “Dish,” it said. Hardly. The duo in question skirted the fringe all day, hovering about uncomfortably. He was a pasty white ectomorph whom I judged to be in his early 40’s, based on the dilapidation of his face meat. She was a short Hispanic lady in her 30’s, and looked a little like a Spanish Martha Stewart. They both wore starched tie dies and asked a lot of strange questions. “Where can you get a good shot of wheat grass around here? I mean, strong wheat grass, ifyouknowwudImean?” Hint Hint, nudge nudge. Another: “Any idea who has the Leon Spinks DVD?” That one threw me for a loop. At first it was just one of those random statements that stood out in a soup that was relatively stocked with interesting commentary. Then he said it again, louder this time, emphasizing the first syllables of each word. Dumb fucker, couldn’t think of anything more appropriate.

Once I figured out their gig, I preyed that they wouldn’t run into our bushwhacking wookie friend from the night before. He would have been no match for their simple charms, and likely would have falsely implicated large swaths of festival attendees had he gotten pinched.

I was walking by their trailer/mobile command center, fumbling with my multiple vices, when the two sprang up from their camp chairs and ran over to intercept me. I thought of running, but didn’t want to spill my drinks.

“Hey there buddy, sure is a fine night out here, isn’t it?” the male agent asked.
“No spreken se Duetch?” I replied in shaky German. The female stood in front of me, stopping my forward progress by spritzing a cloud of patchouli.
“Aha, a European! Boy, that sure is great, isn’t it Carol? Finding a European way out here in Big Sur?” he said.
“Imagine that,” she replied. “Well, you Euros sure know a good party when you see it, don’t ya?”
“Si?” I mumbled.
“You know what you look like? A skier. All you German’s like to ski, huh?” I stared on and bit into my last ice cube, wondering what damaging materials I might have on me at the present moment. There was no telling. It had been a long day already. The stores had been depleted.

“Carol and I love to ski too! Sure do hope that it snows out here tonight, if you catch my drift!” the pun sent them into a spasm of snorting laughter. “Yessir. We like to ski all night long. Cold snow, yellow snow, powder. We love it all. Hey, you wouldn’t know anyone who has some ski wax tonight?” he said, winking. I dared not blink. Instead, I looked over his shoulder at the back of their white Tahoe. The windows were tattooed with a symmetrical array of stickers.

As he prattled on with his forced innuendo, I focused as best I could on the stickers in the dim light. Along the top of their rear window there was a Mother Hips sticker, and to the right of it was a Dawes sticker and a Fernwood Resort sticker. On the bottom row was a Jackie Green sticker, then Red Cortez, and curiously, a Nicki Bluhm sticker, which solidified my suspicions, since to my knowledge such a thing did not exist. In the middle of the window was a big green leafy sticker with the numbers of that now infamous smoking time, but it was stuck hanging upside down and the numbers read 02:4, another sign of amateur subterfuge. Every neutron in my duodenum told me that I had to get out of there, quickly.

“Ski? Schralpen zee Alps? Si! Mach Schell! Actung!” I bellowed, hoping that if I yelled loud enough, someone might come to my aid. “Ich lieben dich mein schauntz!” I said confidently. To the best of my knowledge I was urging the lady to behold the girth of my fruit bat.

I made a motion towards my nose, and then lowered myself to a full tuck grand slalom position. “La gato esta en la playa!” I yelled from my stoop, reaching over my back and pointing furiously towards the women’s shower room to my right. “LA PLAYA! ACTUNG!” I yelled, nodding wildly, clapping the man by the shoulder. The two looked at each other cautiously, and I just kept nodding and speaking in shattered Germish. I made a motion like I was pushing off with ski poles, and started sniffing loudly. “EN LA PLAYA!” A dawning look of understanding came across both of their faces at once. They locked eyes and cocked an eyebrow at each other simultaneously. Carol started flashing tactical hand signals at her partner, who had dropped into an instinctive crouch and was skinnied up against the trunk of a redwood, glaring at the ladies shower facilities with an adrenal glee.

I shushed off on imaginary cross-country skis, kicking my heels out dramatically until I was back over the bridge and out of sight. As soon as I rounded the corner, I ran to my truck, found a Sharpie, and drew a hasty mustache onto my upper lip. Not confident that the disguise was enough to throw off the dogs, I threw a gamy smelling poncho over my hoodie and traded my Crippled Stripper hat for a San Francisco Giants beanie with faux-“Freak” locks attached – local dirtbag hero Tim Lincecum-themed swag scored at a recent ballgame. I topped the get up off with a pair of novelty sunglasses that were fashioned to look like two flamingos making out.

An approaching series of cooing noises drew my attention, not unlike those of a fast moving group of smitten cow elk. Freshly outfitted with a new beverage and a backup, I peered into the dark to see what was making the racket, only to narrowly avoid being trampled by an excited herd of twenty to thirty thigh-booted MILF’s. They were keeping a spectacular pace, given their running attire. The spikes of their high heels left an impressive rooster tail of sparks in the blackness as they double-timed it through the campground towards the stage. At first the incident had me confused, and slightly worried. Something had obviously spooked them to cause this mad rush. I shined my headlamp to the ground to study the tracks. If my theory was correct, then it was indeed a rare sighting this far from this city. There was only one way to be certain of my suspicions, and that was to get on my hands and knees and follow the sign. Soon enough, I found a trail of tale tell pinpricks and flat marks in the moist earth along side a smattering of green tinted rose petals that had settled in the jet wash. At once, I knew. The stampeding herd of hormonal hellions were Greene-heads.

They are from what Hunter Thompson called “Generation Swine” – the post-Boomer, pre-Gen X set brought up in the age of Reagan and Wonder Bra’s. They are good, professional women on a bad trip – Dylan, Dead and Devo reared leather and leopard print-accoutered lasses who are drawn to the “Prince of Americana” like Grizzly’s to a stream full of fat salmon.

Jackie Greene. Photo by Andrew Quist.

I doused my light and made my way to the stage, where Jackie Greene was just digging into his first tune, Gone Wandrin’. It was my first time seeing Greene by himself without his band, or any other, since I had seen the multi-instrumental sensation play with the Mother Hips on a few special occasions. The crowd was thick now, and while there were pods of dancers on the fringes, most of the chairs in front of the stage were occupied by appreciative-seeming folks who hung onto every word.

(Caveat: Great Lord of all that is Original and Fair, I hate the thought of even writing the following overwrought comparison, but there truly just is no way around it. As the great realist Knute Rockne was known to say – “It is what it is”) And for good reason – Greene has long been associated with or likened to Bob Dylan for a variety of reasons, his looks, his blues/country/folk/rock cross-over style, but perhaps most importantly, it is his knack for poetic story making and entendre-laced turn o’ phrase that aligns him so closely with the great Wilbury.

Greene alternately stood or sat on a stool alone on stage, just an acoustic guitar, and his harmonica brace perched at the ready on the front of his puffy winter coat. For several songs, he moved over to his piano and showed his breadth of skills. How often do you see a pianist accompany himself on harmonica? For the first time that I had ever seen, he eschewed his signature hat for a more native, longhaired look.

The solo performance given by Greene was an honest, enthusiastic, and at times genuinely funny trek through his expanding catalogue. But what it was more than those things was, god forbid: mature. And no, not the bore-me-straight-to-my gadget screen, draw a square in the air, gin before dinner kind of maturation that you might be imagining. I’m talking about the kind of intellectual and artistic maturity that develops in a man who is on the lean side of 30 and has been meticulously building himself to the point of prime professionalism for more than a decade and a half. He may have once been a young prodigy, but those days are over for Jackie Greene. Now he is a Major Dude. You don’t get the types of heavy assignments he’s been pulling without having a shit ton of talent and the grace to control it.

Greene played with a loose, even humble professionalism – cracking jokes, telling stories – never seeming to lose sight of the historic and enchanting setting that he was performing in. With no band to fill in the well-timed gaps between verses, his powerful, high ranging voice cast high above the stage and pinballed between the bark of trees old enough to hide in their folds the ancient char of Esselen Indian fires.

Four months ago, some degenerated little shithead named Blak$hugga broke into my unlocked locker at the Monterey Recreation Center, rifled through my gym bag, reached into my reeking work shoe, and thieved my iPhone. I know his name because one hour later, when I was at home zeroing in on his location via a high tech tracking system that I had installed on my laptop for just this type of occurrence, the cocky thug posted a cryptic message on my phone list after I unleashed a taunting tirade via the texting function of my software. “Lo$er FoneGone –took slik dik bie Blak$hugga” was all that remained of my well-evolved phone list, and then the thing went dark forever, wiped via instant cellular lobotomy.

I was as cantankerous and vengeful as a lanced bull for most of a week after the pilferage, and then I came to realize that while the plundering piss ant had most assuredly taken my phone, he had also likely saved my very life.

For weeks on end, you see, I had teased and tempted the cruel whims of fate – tweaking her nipples and ignoring her advances by texting and updating profiles in spasmodic volumes that would make a teenager jealous, all while commuting at terminal speeds on narrow two-lane farm roads choked with weary long-distance lettuce haulers. Things had gotten so out of hand during this period of high texting that as an act of self-mockery, I made Dead Man’s Curve my ring tone, and Detroit Rock City my text chime.

So while I mourned the sudden and loss of my only camera, voice recorder, compass, magical musical-guesstimator, and alarm clock, I also celebrated having survived the warning shot. Not only had I not gone toe to grisly, maimed toe with twenty tons of fresh-cut Iceberg, but I was once again free of the incipient modern curse of constant, unceasing contact.

Since then, I’ve had to rely on more primitive time keeping methods, which has heightened my sun-clocking abilities in the daytime (unless it’s foggy, and it’s always foggy), but has seriously degraded my already awful sense of night time. And so I don’t know for sure how long Greene treated the crowd to a truly solo show, but by my Irish time piece, it was five or six beers past before Greene invited Tim Bluhm up to lend a voice on a song that I later found out is called The Ballad of Spider John.

If you are as troglodytic as I am and haven’t heard it, Spider John is a rootsy first person lament of the freight-hopping anti-hero, a country confessional written by, it turns out, a relatively mythic Texan named Willis Alan Ramsey. Buffett has covered it, amongst others, and somehow despite it’s apparent status as a folk classic, I had never come across it. And the thing about that song, being sung by Greene and Bluhm on that stage, is that it easily could have been theirs. The songwriting pair, who have consistently proven their own mettle as individuals and as creative partners in their band, the Skinny Singers, absolutely owned the cover song, sold out for it. I was transfixed by the both the power of the song itself, and the possibility that it was some new song that they had whipped up in their noteworthy work at their Mission Bells studio.

And this uncertain pride, in essence, is what has driven me to such depths of excitability about the music of the Mother Hips and their assorted permutations and collaborations: even when they play a song that is not their own, they make it so. And always, always, I learn something from that effort – whether it is discovering, and subsequently mining the material of an obscure artist, or simply appreciating the choice and performance of a random nugget for that precise moment in relation to the soundtrack of that particular night.

Of course, I am a chronic and committed dreamer, and we tend to get all caught up in the gears with that sort of existential thinking, which is why in the long and tragic history of people, dreamers have always made better foot soldiers than generals, and plum targets for the oppressively conservative.

Jackie Greene, Tim and Nicki Bluhm. Photo by Andew Quist.

Greene called out another Grambler for his next song. Entering the fray was the bluesy, honey-belted voice of Nicki Bluhm, the regal and properly postured hostess. The family Bluhm and Poker Face Jack stoked their fellow campers into a swaying, spinning throng of liquid humanity with a sterling version of Sugaree, the Grateful Dead standard.

Watching the three exert their varied and complimentary skills on the number, it was difficult to ignore the notion that these Californian’s, each reared up with their needles on the pulse of the milieu, will actively and gracefully build from and carry on the songwriting tradition that the Grateful Dead built for themselves. It seems inevitable, now. Greene is the Dead scene’s golden boy – the cant miss kid who has been given the high-handed, enthusiastic approval of the quorum of nomadic mystics who decide on these things. He has been a regular in Dead bass player Phil Lesh’s band for several years, and has himself managed to master a notebook full of Dead songs, which his audience laps up in fawning admiration.

Tim Bluhm of the Mother Hips. Photo by Andrew Quist.

Bluhm, the Mother Hips, and even the Gramblers are the authentically prepared, time-tested torch bearers whose weird, independent orbit just happens to be synching up at exactly the right time for the Grateful evolution, a charm that has been a hallmark of the band in the Zenfully meandering career. Interestingly, early on in their careers, when they were young, shit hot and being pursued by scads of record companies, the Mother Hips purposefully avoided both the comparisons to and association with the jam band scene that the Dead heralded, to the point of sudden countrification, matching mustaches and the excising of any song that might have taken longer than a bowel movement from their play list. Now, after a rootsy, two-decade tour through the gnarled and dramatic branches of American music, the Mother Hips seem to have completed an important circuit. They have journeyed out into space and returned to terra firma on their own, and now seem ready to put what they have learned to good use in their next expedition.

Which is not to say that either the Mother Hips OR Jackie Greene will literally become the Grateful Dead after the original members have all boogied on up to that Brokedown Palace in the sky, but they are each logical and reasonable carriers of the mantle of versatile, free spirited North California song crafters.

The ironic bitch of it is that while it is safe to say that the Hips stalwart fan base actively supports the band’s ability to go as far as they desire to go commercially (and make no bones about it, the Dead are titans of commerce perhaps even more so than they are of psychedelia), that kind of profound success would make intimate events like the Hipnic a logistic impossibility. Big Sur would need to be ten times bigger just to host such a thing, and if anything, the place is losing ground thanks to the Central Coast’s cleaving tectonic plates and the insatiable gnaw of the Pacific tides.

“It would be sweet for the fellas if the Hips are able to achieve all of the acclaim and financial success that they are due, but it would definitely be strange only being able to see them play stadiums and huge fests and the like. I really don’t think it would be as fun. It would be blown out, you know broheen?” commented a freakishly tall kite surfer who said that his name was Bud. Several others chimed in on the conversation, with similar contradictory feelings.

Being a chronically afflicted, self-diagnosed, and unmedicated ADD or ADHD (attention deficiency in sparkling, time sucking High Definition, I presume, though I can’t seem to find the time to look up the difference) patient, the topic, while timely and spirited, held my attention for only a minute or two before I found myself cloaking up and slipping off into the dark during the change between Greene and the Hips. Such is the gift and the curse of the conversational sprite.

I circumnavigated the crowd in a fanciful orbit, listening in on random comments and placing them into a mental timeline. I like to do this from time to time. It is good sport, much like slowly spinning the AM dial while driving at 2 am on a clear night in Medicine Hat, Utah.

As I skirted the edge of the crowd, I happened to tune in just in time to overhear a disturbing plot taking shape. Two guys were planning a fireworks display after the Mother Hips show. Something big, too.

“It’ll blow their minds, man!” said the short one with the big nose. “Oh wow man! Wait’ll they see the Naval Barrage. They’ll shit themselves! That thing’s gotta have two, three hundred rounds of rockets lined up,” replied his pal, who not only looked physically like a Viking, but also wore the fierce grape hat and shimmering nylon jacket of the Minnesota NFL team. I reversed thrusters and pulled cautiously into their neck of the crowd, hovering and monitoring.

“I wanna shoot ‘em off now, man! It’ll be sooo great!” The Nose said. His buddy looked around, craning his fat neck out like a turtle until his coal-black eyes could peer above the crowd. “OK, there’s a break. Let’s do it man!” the Grape Norseman replied enthusiastically. I followed them through the campground out to their Suburban at a comfortable tailing distance. The two were like giddy school girls the whole way, jumping around for no apparent reason, clapping their hands in gay patterns as if they had just spiked a volleyball. I hung back and watched incredulously as they disgorged from their vehicle a coffin crate packed with fireworks. Even though both were stout and beefy, they struggled to stand it on end. The coffin was so heavy that they had to use leverage to unload it, and when they finally had it upright it was taller than each of them.
“You got a lighter?” Grape asked.
“I got a match.” His partner replied.
“That’s all you got?”
“Well, we only need one, don’t we?”
“You asshole! What if it goes out?” yelled the Viking.
“Well, we can borrow flame from someone, man. People loooove fireworks. Take it easy, alright?”
“Sure, sure Jaime. It’s good. It’s all good. Can’t wait. You can light it, and if the match goes out, we’ll just get us another one. People love a big bang. Yep!”

These two dim-witted fools were dead set on launching a man-sized rack of fireworks into an area that is just now, two years later, recovering from a wild land inferno that nearly croaked the whole town. The place is a tender box still, and scoured by hard-rushing winds. A single carelessly placed cigarette butt can cause the whole candle to go up all over again. And I love a good aerial bombing as much as the next guy. Fireworks are an all-American right, up there with free speech, racial and gender equality, chili cheese dogs, the post office and Budweiser. But not after seeing first hand the, apocalyptic wrath of the conflagration that occurred in Big Sur after that freak electric storm two Junes ago. I had to do something.

But what? How to reason with drunken Vikings who had likely spent the contents of their top shelf stash jars to fund such an extravaganza, including a thousand mile round trip through heavily policed borders to get to the source – the Moapa Indian Nation, who sell a brutally efficient blend of commercial-grade explosives, tax-free liquor and tobacco, a fine assortment of tobacco water pipes and assorted paraphernalia, while simultaneously offering slot machine and video poker gambling as well as prostitution referral services all under one sinful roof in a baked plot of scratch desert land off of I-15 outside of Las Vegas.

I studied the scene. The dangerous duo were obviously saddled by the unwieldy girth of their fireworks package. Based purely on observation, it seemed likely that they might be just dumb enough to try and light the thing off right where they stood – in the heavily wooded edge of the campground and the Big Sur River- if they couldn’t drag the thing to the meadow. The river gurgled by in the night, making judgments of it’s own. I watched the dark waters slide by from the right to left, heading out to the uncalm sea. A plan came to mind.

I ran back to my own camp, stripped the rain fly off of my tent in one hasty snatch, and grabbed a bundle of parachute cord from the Back of Beyond Books canvas shopping bag of bungee cords, straps and rope that I keep handy. I ran back through the camp and made my way down the slope of the riverbank, where I crept in my best out of shape SEAL form until I was directly below the amateur pyro men. I peered up above the crest of the bank, and saw the coffin leaning up against the Chevy, which was parked right up against the bank. The pyro’s had wandered to the road, scouting out a path in their attempt to deliver their quarry to the meadow. Seeing my window, I leapt up, lashed the oversized fireworks kit with the cord, and without pause, jumped back over the ledge towards the river, tipping the box with my weight until the whole thing toppled over the precipice and crashed down on the rocks that littered the bank. I was nearly caught underneath the coffin as it fell, but performed a drunken barrel roll to my right just as the kit hit the dirt with a loud whomping noise. The plastic wrap that had been applied to the box hit the wet river rocks on the bank, and much to my surprise created a lube-like effect, which rocketed the missiles out into the water in one swift motion. I watched for a second or two as the coffin darted out into the current and began it’s lazy descent towards the sea.

Two pairs of footsteps approached urgently, so as planned, I threw the white tent rain fly over my head like a sheet, pinching it down with the elastic band of my headlamp, which I set to it’s blinking red emergency pattern. I ran straight up the bank towards the Vikings.

“Whoo whoo!” I howled as I crested the hill. The two skidded to a stop next to their truck.
“What the…?” yelled the Nose.
“Wooooooo!” I intoned in my most evil warble, running right between the two with my arms flapping like some horrible human/camping gear genetic experiment gone astray. “Now I’ve seen it all. Spook’s sponsored by Coleman!” yelled the incredulous Viking.

My “plans” never work out quite right, but somehow here they unfolded exactly as I had imagined. The surprise factor had worked in my favor. I cleared their camp and disappeared into the redwoods without either of them in pursuit. I felt good knowing that the fireworks would be water logged and unusable in such a pristine, special place. Jesco the yuppie cowboy hailed me as I rejoined the crowd.

“Hips are starting. Take a swig of this,” he handed me a flask.
“What’s in it?” I asked.
“Dunno.” He replied, smiling.

I sniffed the drink through the small spout. The liquor inside immediately revolted my nose with it’s horrid acrid, earthy odor. Tequila. I was instantly brought back almost exactly twenty years, when I had nearly landed in a Mexican hospital, prison, or both after a terrible night post-high school graduation. Yuck. Someone handed me a joint. There was no avoiding my peers. I chased one with the other. I do not recall in which order.

The Mother Hips. Photo by Andrew Quist.

The Hips took the stage for their second performance over the course of the weekend. There were rumors amongst the long timers that the band was going to split their concert in half, with one set of country tunes, and another filled with their particular brand of loose-formed psychedelic rock, but that was put to rest within the first three songs, as they covered the gamut of their styles, from folk to gritty rock to rolling country in a harmony-driven flourish.

Melody Fair, the appropriately named, achingly slow, pre-disco Bee Gee’s song led off the headlining show. High, three part harmonies lace the contemplative ode to femininity, which gives uber-instrumentalist Paul Hoaglin a chance to feature his own glassy pipes. He is the secret weapon in the band. A force of musical cohesion and master of the perfectly timed fill.

Our small, boisterous crew drifted to the back, where we could get loose and stretch out the boogie legs when the band tore into a newer song called White Falcon Fuzz, an at times growling, at times delicate mix of dream analysis, homage to the timeless tone of Neil Young’s Gretch guitar, and personal legacy introspection. I stomped around in my unique, obliterated dancing style, letting the music control my bones, once more happily and hopelessly lost amongst the familiar notes. After a few songs of this I walked back towards the facilities, where a small group gathered at the front. I looked up to greet the fellow Gramblers when I started to recognize faces.

There, in one highly charged, weirdly chummy group, stood the Vikings, the Wookie, Barb the Googler, and the DEA tandem. They were all grinning like hyenas, singing along in an endearingly off-kilter way, and from the whiff I caught, imbibing themselves in a group toke. I dipped my head and passed with a single thrust arm, extending a thumb of approval. There is no telling how they all got together. If there is one thing that I learned in ten years of working in community television, it is that freaks tend to flock. It all sorts out, I thought as I cleared their view plain, if you just let things happen organically. Maybe I had pegged them all wrong anyways.

Greg Loiacono of the Mother Hips. Contrastic photo by Andrew Quist!

When I returned to the fold from my walkabout, the Hips were wrapping up the namesake song of their latest record, the searing, street-fighting anthem Pacific Dust. Bluhm thanked the crowd, extolling them to be ready for the party to continue upstairs, in the bar after the Hips show. Then a trippy rumble of drums echoed out, followed by a distant-sounding noodling of guitar. Cymbals washed in the background rising and falling away. Someone slapped my shoulder with a delighted swat as Bluhm turned the song with a single emphatic note. It was Poison Oak, the ominous, time changing ripper that the band has lately elevated to new levels of spine melting fury.

Bluhm laid down the loping, march, Loiacono interjected with fierce torrents of tearing psychedelic reverb sonicness, and the back line hummed along as the gears shifted speeds from slow to fast and back, until, inexplicably, preluded by only a few echoic spatial clucks, the song dropped completely away from all of them.

The Hips are a band that loves to play with time. They regularly employ swift, contrasting dips in the “heart beat” of their songs, building back from the calm to a boiling rage, particularly the songs that were written early in their careers, such as Poison Oak. So it is not unexpected that the band would take the song down to a single repeating note. But not ever, to anyone’s recollection, including the band, when asked later, had they ever flat lined a song completely. If you’ve ever wondered what three hundred stunned people sounds like, I am hear to tell you that it sounds like the pregnant, silent Big Sur night. For several minutes, the band held back, their faces signaling that even they weren’t sure what was going on, letting Loiacono spark off but a few deep space flourishes. Otherwise, it was total, almost reverential silence. The crowd stood too wrapped up in the dramatic moment to move, or talk, or do anything but watch.

Tim Bluhm of the Mother Hips. Badass shot by Andrew Quist.

And then, just as it had begun, the song faded back into being. “There are men who do not blossom in expression,” Bluhm sang, the line that starts the romping, Crazy Horse-esque march to the chaotic chorus. The spell was broken, the base drum thumped at triple time and the crowd liquefied into a swarming gruel of delirious humanity. Jesco and Zach leapt up and down atop folding chairs along the back row. Upon the howling of the line “she is the naked skin and I am the oil”, I shot put two empty chairs into the darkness beyond the glowing arc of the stage lights, permanently loosing a flip flop in the process. A fine looking lass in a puffy jacket and a frilly skirt swayed astride her bearded man with her head pinned to his chest, repeatedly slugging him in the left bicep. There was a palpable sense of connectivity to the relentless crescendo of the song. Sweet, care free emotional release, like screaming in a lonely canyon.

It was the signature moment of a remarkable weekend of music, in retrospect. Sound engineer Evan Drath had the gear perfectly dialed in to the testy atmosphere of the chilly, breezy Big Sur coast. The sound that came through the stacks was crystalline and album quality. How often can you say that at an outdoor concert?

The encore, the affectingly sweet, slow-dancing Motor Home served as a calming balance to the spasm of energy that the band conjured out of their friends and fans. When it was over, Bluhm again made mention of the late night jam at the bar up top. Some campers took the cue to retreat to their families, to curl up in the cool air and rest their heads in the comforting bosom of their loved ones.

Me, I migrated back to Rowdy Camp, along with a seriously astounded Andrew Quist and his photographic brethren, John Chapman. It was late, but to a soul, we were charged for action. It had been an inspiring day, capped by an incredible 10-hour run of music. And now, it was about to get even crazier in the relatively tiny confines of the Redwood Grille. We gassed up with every type of fuel that could be obtained within camp. Whiskey, beer, gin from the bottle, a rum punch, beer. Tobacco, others…If it was passable, it was possible.

When we were about to go, I fell into a brief panic as I tried to find my headlamp. I wanted no part of the dark, drunken crawl home that I had endured the night before. I at least wanted to be able to see where I was crawling. Now, the damned thing was gone. Goner than gone. Vanished. History. I was crestfallen. I loved that light.

After a minute or two of checking the pockets of the camp chairs, and staggering around trying to see the ground to see where I had dropped it, I noticed that the whole camp was laughing at me.
“Wha…” I asked.
“Watcha lookin’ for?” Abbie asked.
“Headlamp,” I said sheepishly. The laughter grew. She extended a hand and slowly pointed a long finger towards my groin region. I followed her pointer down to my pants, where I was surprised to see my pocket aglow from the blinking beam of my lost headlamp.
“Don’t forget to turn off your love light, Casey Jones,” she mocked.

Bolstered anew, we roamed the grounds in an awkward, forced hush, out of respect for the other campers, until we found the long run of stairs that lead up to the bar. Then the blathering continued unabated. Outside, John Hofer, the Hips drummer stood against the wall, smoking, drinking and laughing with his typical gusto. Greg Loiacono walked by with a guitar case in hand. Each spoke for a bit. I asked Hofer about the quiet interlude during Poison Oak, and he laughed it off as a missed communication. “Someone is supposed to be the trigger for the rest of us to kick back in when we break it down like that. This time, nobody wanted to trigger it. So I just waited it out. I wanted to see what would happen,” chuckled the drummer.

We went in and immediately were nearly kicked out and black listed from the bar. Jesco had a camp drink in his hand, and the barkeep spotted him from his high perch and commanded him to leave with a disapproving wag of the finger. I had one in hand as well, but when I walked in behind the singer, I saw what was happening, and put my drink inside my poncho.

As predicted, the place was crammed with people. Eventually, Andrew and I fought our way through the main room and into the kitchen area, where the band was getting set up to play. When I was still enough to focus, I made out that fronting the band was Kyle Field, the strange folkster that I had seen upon first arriving to camp two days earlier and then earlier on this day at the beach. After they had sorted out their troubles at the bar, Jesco, Zach and the ladies joined us and we commandeered the back wall along the kitchen as an area to sit. Within a minute I realized that I was boiling alive in my wintry togs, and so I shed the poncho, hoodie, and beanie with the haste of a man diving into bed with his dream girl.

Little Wings situated themselves on stage, and the crowd pressed forward in eager expectation. There was a sense of anarchy in the air. Tim Bluhm settled in behind the drum set. Field plugged himself in, shambled about a bit on stage, and then turned to his band mates and gave them a rousing, stomping countdown to lead into an obviously energetic crowd winner. “ONE anda TWO anda THREE anda…!” blerrrrrrrrrreeeeeeeooowwwww.

Field blew right past the spirit of his own prompt and descended immediately into a mumbling, slide guitar-heavy sludge, punctuated by occasional pointing to the crowd, ala Willie Nelson. Watching casually, I thought that maybe his act was a put on, but then the second song started the same way. And the third. He would stomp dramatically and count out a start, and then musically channel the sound of a sad cat stuck outside in the rain. Meow Rock, I called it. The sound of kitties crying.

The small room compressed in several waves as people jammed themselves into the space. A group of talented ladies stood atop the long wooden table opposite us and started to dance. The spectacle of a half-dozen good-looking girls in short skirts and thigh boots dancing together atop a table was more than one randy bloke could take. He climbed up there too, blocking our own view, and was eventually driven back by a barrage of well-thrown relish packets that were requisitioned from the waitress stand.

Field, Bluhm and crew pressed on, confertaining (half confusing, half entertaining) the crowd, 3/4 of whom were blasted anyways. There is an avant-garde element to Field’s performances, both from his art, and his supporters. In a quick scan of the crowd, I noticed a disproportionate amount of thrift store lumberjacks with week old beards wearing outsized spectacles. Everyone was drinking tall cans of Pabst.

I was nearly blinded by an unexpected snap shot that came from across the room. It was the bloke. He was back, and now armed with a small digital camera. I watched as he navigated the crowd, occasionally grabbing an acquaintance and yanking them into a point blank photo pose. Half the time he had the camera pointed the wrong direction. The other half, the flash seemed to be aiming right for me.

We assailed him with another round of flying relish packets, but he persisted. Finally when he was alongside me, I grabbed him by the wool checker boarded shirt and said in no uncertain terms that I was done being flashed. “What the fuck are you doing with that goddamned thing, trying to maim us all? We aren’t moles. You’ll blind us all!” I yelled at a volume so that he would hear me over the band, which of course unexpectedly stopped at exactly that moment. My voice rattled around in the club. Everyone turned towards us. Most had crooked eyebrows. I let go of the offending bloke and stepped back. He pointed his camera at me jokingly and I flinched back, ready to punch. “Hey man, it’s alright. I was kidding, I’ll put it away,” the snapper said. “Meooooooow!!” I blurted loudly, just as Field kicked his band into low gear with another animated count down.

Quist saw that I was getting to be on the verge of limited self-control, and got me out of the crowded bar before I started a real scene. The fresh coastal air outside was an instant boon to my equilibrium. We agreed it was time to head back to camp. The expected Hips jam never really occurred in the form that we had hoped for. But so what? It was their party. They had pulled off an incredible lineup for a small two-day festival. Let them cap it off in whatever form they saw fit to.

We started around the back of the Fernwood towards the steep stairway when a dreadlocked Spunion came around the corner on a strange beeline. He sensed our presence and stopped on a dime, his body rocking in place front and back like a Weeble Wobble. “Heyouguyswannabuyabagashroomslasonefortydollaastone!” he blurted, and then as if jolted into gear, leaned backwards, lurched forward and then sped off in the direction he had been headed without waiting for an answer.


The new day arrived on the wings of a small blue bird who had perched itself on the peak of my tent, chirping me to bleary consciousness. I eased myself up, careful not to trigger any leg cramps this time. I grabbed a gallon of water and doused my guts with its coolness. The camp was half-cleared out already. I looked up at the sun and guessed it to be about 10 am.

I wandered over to Rowdy Camp and said my goodbyes. All around old friends and new families hugged and parted ways in a camp wide chorus of high fives, honks and rebel yells. There was a palpable sense that some bit of history had occurred and that we had all, musicians and music lovers alike, had been a part of it. And yes, I know it was just a music festival. Just a small picnic, really. But before you accuse me of being overdramatic, I challenge anyone to check back with me in ten years and tell me that the careers of at least three of the participating bands have not taken major upswings in general popularity and commercial success. I’ll lay serious odds that if all goes to form and the crops don’t fail, people who didn’t even know these bands existed today, will talk about the Hipnic with reverence years from now.

My camp was packed up in short order, as was that of my camp mate, Timo. He sang us a final song, a humorous ditty about female prisons, and then gave me his card, a glitter dusted, pie plate sized tie die drawing that deadheads call spin art. I thanked him, agreed to consider writing a screenplay about disenfranchised suburban gamblers with him, and pulled out of Area 51 with a blast of the horn and a coyote howl.

I stopped up at the top of Fernwood to buy a Gatorade for the drive home to Monterey. Inside, the staff was cleaning up, and already had the place pretty much back to normal. Breakfast was being served, and I briefly thought about partaking, but decided to pass on account of having already blown my bacon budget by several fistfuls for the week.

My mind was muddy from the weekend of constant stimulus, but already fond memories were forming. I walked back to the truck and was about to step in when I felt my bare foot squish down and pop the life out of some goopy thing. It was a bad, brutal sensation, and I was afraid to look. I am always racked with a terrible guilt when I accidentally stomp some helpless animal.

I stood frozen for a moment, and a pig-tailed girl who was sitting on the porch yelled out, “Whatsamatter?” startling me briefly. I looked up at her, and she was beaming back at me with a bemused smile. “Oh, nothing, I think that I stepped on a snail” I replied. Her face recoiled a little, mostly in the eyebrow region. I saw her headband move.

Finally, I stood back and looked down at what I had squashed, bending over to examine my victim. There, sitting lifeless and disgorged in a green, slimy puddle was a small, perforated packet of Heinz relish. A simultaneous rush of irony and relief came over me. “Oh good. It’s OK, I only killed a condiment!” I yelled, looking up, hoisting the packet aloft triumphantly.
“Thank God!” she whispered serenely, slowly turning her sleepy face towards the inviting warmth of the rising sun.

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Imagine that John Steinbeck was forced to mainline a gallon of liquefied salvia divinorum as the writer is strapped down to a chair made of ten penny nails, his eyelids propped open by the freshly-plucked rib bones of a small, rare mammal, all the while being subjected to watching Natural Born Killers for 24 hours straight, only to be released to his oaken writing desk and given a month to express his thoughts on the experience.

His furious, incisive indictments of the Fuckers who waylaid him would likely take on a literary form very similar in to that of Floridian author Lance Carbuncle in his deranged new novel, Grundish and Askew.

Grundish and Askew traces the unraveling existence of the degenerated duo who provide the novel its name. Grundish is the ex-con, imprisoned not for rape, nor murder, or any serious evil doing. He simply likes to use other people’s stuff, whether they want him to or not. And this quirk of personality, it seems, tends to get him into a deepening trench of hecticness. Grundish is foul, indeed – crude, lewd, and tattooed with the face only his engorged, lustfully extorting parole officer Velda could love, against the wall of a grungy bathroom. But as ill-bred and misguided as he is, Grundish is also the (pickled) brains behind what Carbuncle so aptly describes as a “creepy caper.”

Askew is his imbalanced road partner, the only real friend that Grundish has maintained in a world chock full of “Fuckers” – those greed merchants and condescending fools who have conspired to force the pair into a career of bumbling criminality. A savage reactionary, Askew sets their fateful run into motion when in self-defense, he pummels the dim life out of a charging, masturbatory sex-offender named Bumpy D in full view of a their molester-laden trailer park brethren.

Joined by Turleen, Askew’s infirmed, cigarette-ravaged great aunt, Grundish and Askew hole up at the abandoned house of the Buttwynn family, where they lavish in their belongings and wait out the heat from the trailer park incident. Their temporary idyll takes a sour turn when Mr. Buttwynn returns home early from the family vacation to tryst with his teenage prostitute lover, only to discover a vile group of dirt bags inhabiting his sanctimonious home.

After a particularly savage rampage by a newly unhinged Askew puts the lot of them on the lam, they are sheltered, perhaps, by a withered old man and his saintly, sputum horking burro, Alf. And that is when it starts to get weird.

Carbuncle has taken an old familiar, Steinbeck’s Of Mice and Men, and given it a modern, demented cast tinged with his particular brand of unsterile absurdity. As with his first novel, Smashed, Squashed, Splattered, Chewed, Chunked, and Spewed, Carbuncle’s follow-up work is laced with encyclopedic knowledge of rapine carnality, and a fat dose of balls-out wit. The novel jolts and badgers its reader into following two seemingly unlikable characters, often utilizing direct expositional interludes by the author himself. Carbuncle holds no bars. He consistently delves in the inscrutable nature of low-achievers, and seems striven to shock, but to his credit, he does it in a way that seems somehow reasonable, even plausible given the arc of the story that he is telling.

Most importantly, it is bloody obvious that Carbuncle takes great joy in the writing process. His prose is wild, effective, and refreshing to read. When Carbuncle needs a word that the limitations of the Oxford Dictionary does not provide for, he makes it up, footnoting his rationale. The pages turn themselves. As revolting as his characters are, they are endearingly interesting. As with his brilliant first novel, the settings of Grundish and Askew are so well conceived and detailed that one feels as though they are there with the characters, sitting ringside, drinking piss-warm Hamm’s in a threadbare lawn chair as Grundish circles the trailer park, berzerkingly attacking his perverted neighbors with frozen hotdogs. And what more can one ask of a story, if not to be given a decaying vinyl shotgun seat handle to cling to for dear life, a jarring smack to the back of the head, and a well-put admonishment to “sit down, shut up, and hold the hell on?”

Grundish and Askew, by Lance Carbuncle, is published by Vicious Books, and is available at viciousbooks.com, and at Amazon.com.

Corby Anderson
Marina, California
December 2009

-Corby Anderson is the author of the unfinished, unpublished great American ski bum novel, Washing Out, assorted whiny poetry, and other boorish short fiction and acts of ridiculous journalism. He wrote a weekly sports column for the Aspen Daily News, and contributes to the Monterey County Weekly, amongst other publications and websites. Examples of his works can be found at corbyanderson.wordpress.com.

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Mother Hips release their seventh record, Pacific Dust.
By Corby Anderson

I have before me a new record, recently released by my favorite band. This review will serve as a streaming journal of my thoughts recorded upon the First Spin. All subsequent spins, or listens, as it were (does a digital file spin, per se?), will forever be offset by the virginal experience.

Like original sex with a human being who is kind, drunk, or horny (or all three) enough to give your own body a randy go at their own – and ultimately for good, bad or otherwise – that first listen to a piece of music is always the one that lodges itself firmly into your memory mud, a road sign from which all future mental mapping of the work finds its bearing.

This record is called Pacific Dust, and it is by the Mother Hips, a Northern California-based band that I have spent most of my adult life listening to, following around (in what might be considered a stalkerish manner by lesser entertainers), and generally blathering on about in every possible communicative way that a pseudo-mediaite can muster. It is their second record released since their return to the footlights in 2004 following a short hiatus, which at one time threatened to last an indefinite time. Such is the nature of hiatuses, work, war and love.

The record before this, Kiss the Crystal Flake, was essentially a game-changing record for the band. The seventh song, TGIM, literally convinced me to quit my job of eight years and move to Monterey, California to be a writer. That I did this on the verge of the direst economic atmosphere seen since the days when a family car cost .17 cents is not really my concern. If I’ve learned anything from the experience, its that you can’t argue with fate.

It was said long ago, and remains true to this day, that there is something preternaturally synchronous about the song writing that the Mother Hips offer to those who orbit within draw of their gravity.

What was said exactly was that the Mother Hips “write the soundtrack to our lives”, and, well, in my case its fucking true, actually. I know, I know. Plenty of people can say the same about their favorite bands, legitimately so. That is art, of course. However, speaking directly of the band whose latest record I am about to partake in for this seminal time, all that I know is there are too many instances of lyrics, moods, and tones fitting perfectly the unfolding events of my life. Breakups, makeup’s, chance meetings, road trips, work, philosophy – they have almost all been eased and understood at some point thanks to an eerie lyric, an otherwise comically coincidental timing.

I would point out that this is the seventh record released officially by the Hips.

1. Back to the Grotto
2. Part Timer Goes Full
3. Shootout
4. Later Days
5. Green Hills of Earth
6. Kiss the Crystal Flake
7. Pacific Dust.

I was once an athlete. Will be someday once more, when the knees mend and the waist wastes. But that is another story. Suffice to say, my personal number in baseball, softball, basketball, and professional mushroom collecting, were there such an event, is seven. It is my karmic sign – the symbol that most defines my life. I was born on 1/7/72. I was married on 7/7/07, and at that wedding, we drank 777 Seven & 7’s. I’m just saying.

On a side note: A man possibly named Jose Garcia JUST called and in let on that he may actually rent my house in Colorado. This is of note in that this empty, plan-sinking house has been lingering like a rotten fish in my life for at least two months. If it goes on much longer, we’ll have to redirect the Good Ship Wildhair and head back to Colorado abruptly, arriving with wet tails between our legs. Strange timing, given that I’ve just gone 47 increasingly concerning days without a phone call on this matter. We go from rightside up to upside down and back so quickly these days.

I received a package this afternoon from the record label. In it were this little heavenly chunk of gold and silver CD and a few 11×17 posters with the record cover emblazoned smartly on them. I am one of the lucky few getting an early listen, thanks to winning a contest to host a listening party here in Carmel. I won’t be the first to say it, and in fact I usually mock those who do, but in this case it is true: I never win anything, not even contests rigged by me for nobody but me to actually win. Once I ran a harmless ring of fraud in which I used my status as a 17 year old radio station “sports director” to get a local drag strip to fork over some free passes for something called the “Winternational”. (FRIDAY FRIDAY FRIDAY! – God those were fun commercials to make) Of course, when I showed up at the gates with my nearly identical 19 year old brother as my “grand prize winner” it didn’t take long for the race track staff to figure out that, as MJ would say, “scamonee”.

Later in life, I got a free ticket to go ski Steamboat Ski area from the Aspen Ski Company, who I worked for “loading ass for the Man” as a lift operator. Somehow, in all my charms, I parlayed that one free ticket into a blown meniscus, a massive hospital bill, an arrest for theft of service or some such trumped up charge, a good healthy firing from a job that same brother put his ass on the line for, a two year banning from skiing the mountain by the president of the company, a sudden move to Los Angeles, an awkward move in with a girl whose first instinct upon my arrival was to immediately scram for the hills of Kentucky, an unfinished novel and other anomalies of fate.

The record cover itself is a fantastically snappy, nostalgic painting of a Carmel-like sunset cocktail party. I believe that I won the listening party contest because I proposed to recreate the record cover with my own party (mustaches and all), which I intend to do on Friday the 23rd of October at Carmel Beach.

But back to the record, which I will now, at long last, actually play!

Song one is the bombastic, mesmerizing White Falcon Fuzz. I’ve heard the song already, thanks to a sneak preview, and have had many great moments to date soaking in the atmosphere of The Fuzz. The song is different lyrically, in that it’s writer, Tim Bluhm, packs twice as many words into the lines as one might be used to hearing in a song.

But what words! “I don’t know what the penalty is for thinking you can do what’s left of what’s never been done. And if I never find out its either cause I did it or I tried and I failed, said forget it and walked into the sun.” All of that in 16 seconds, backed by a sweet picking Byrdsian riff with a meaty, hooking walkup to the chorus, which in typical Hips fashion is quite a departure from the rest of the song. Time change is both the musical and philosophical identifying mark of this band, and here they hit both marks. With Kiss the Crystal Flake, the band saw their first commercial distribution on a widescale basis thanks to the inclusion of a few of their songs on the game Rock Star. White Falcon Fuzz seems perfectly written for such a thing, with the added bonus that it’s lyrics will likely force the curious teens to look up words like “thus” and “transfigured”, which is never a bad thing.

Early on, Bluhm sings of waking up late at night to write a song, and thinking he sees a dark figure in his house. As his wife sleeps nearby, he writes while fighting a battle with this dark figure using a sharp pencil for a weapon in the 5th dimension. I am not sure what the 5th dimension is, other than the R&B group who somehow recorded the hippy anthem “Aquarius/Let the Sunshine In”. I have trouble enough with the three dimensions that I operate in. But this simple line is enough to set the theme for the whole record. In Kiss the Crystal Flake the enduring first line was about a mission being undertaken, about time and its importance. The theme of time is what defined that record.

I am guessing that this fifth dimension, this fight to write it all down before the dreams overwhelm the original thought, and the ultimate musical application of that thought will course through this record.

Third Floor Story is track two, historically the “hit” spot on a record. It is an older song that has finally found a place on a record, and justifiably so. A real juking bit of California funk and soul, this song is one of the easiest songs to dance to from a band that offers some seriously danceable tunes.

Third Floor Story is a rollicking song which seems a frontal assault on the record industry, a business that for years has failed this historically important, influential rock and roll band. One stanza directly addressed this conundrum, as well as hinting at the long past influence of drugs on the band. “The company quit/they didn’t do shit for our new record/What do I have to do to get a break, won’t someone just give me a hit?/Oh I feel better already…” Later, the tempo chills significantly for the lines “I have a heart that is older than you/I’m a soldier and I’m hurt, its true/So many times I have tried to brush it off, but your sharpened wit nearly ran me through” This followed by a nasty toned lick and the pleading, honest chorus, and capped by the decaying disharmonious breakdown tones of the songs fade out.

Jess Oxox is up next. It is the first song that I have never heard before this typing. I always wondered what Oxox actually meant. Is it an acronym, or a stand-alone word? At any rate, to me the word harkens back to eight grade Valentines Day cards and comments written in high school yearbooks. To this point, the only instance of Oxox being written on my behalf was an anonymous red lip sticking of my driver side window in the parking lot of my old school.

The song has that other hallmark of the Hips sound – a steady, driving guitar rhythm, less fuzzed-out but still similar to those which have made Weezer so famous. Now I am starting to see the production value of this record for what it seems to be: outstandingly produced, tight, poppy, out front like a great sip of wine. I am no oenophile, but I am thinking that this song is going to go over well with the wine crowd. Soft harmonies are layered in over mellow leads, driven along by that signature drive. I sense hints of 1970’s pop bands like Seals and Croft and Wings in the fabric, pushed by sentimental lyrics of a possibly unrequited or doomed springtime love story. “My bandages were fresh and clean, they had just been replaced/my blood was in my veins where they belonged.” Near the end, Bluhm sings of having to leave Jess, like a dream, perhaps as a nod to the vagabonding life of music and it’s needy mistress, the road.

The fourth track, Lion and the Bull, starts out as a five beat, clap slapping anthem, similar to what Foghat would sound like if played through a cloud of helium. For some reason, I immediately think of the 1988 Oakland A’s baseball team, the one that lost to the damned Dodgers in that October’s World Series thanks in part to gimp-hero Kurt Gibson’s clenched fist, pinch hit homerun. Fuck the Dodgers.

This is a “Greg Song”, the first of the record, best as I can tell. Greg Songs are notable in that he usually sings alone until the chorus, which tend to be coated in the sweet harmonies that Blumn and Loiacono have mastered, but also in that the subject matter of his songs tend towards the mystical. Not always, but at times. The theme of this song is had to ascertain upon first listen. “I aim low, with my horns right through your soul/I know I’m slow/so stubborn and slow.”

Lion and the Bull seems like it might be about a relationship – ruminating on the give and take that occurs within, and about what the next step might be. Those who subscribe to Wilco fanzines will absolutely love this song; it has that Yankee Hotel Foxtrot urban snap to it.

The Mother Hips, backstage. Photo by Andrew Quist

The Mother Hips, backstage. Photo by Andrew Quist

One Way Out starts out by painting a frustrating road scene. Broke down for the first time, a long way from the next town. Blumn sings in his honey-toned vibrato as the guitars jangle along in a poppy rock meter. As with many Hips songs, to their credit, one hears elements of long forgotten riffs. Here a George Harrison high pitched slide, there a Joe Walsh walk down, perhaps a slack guitar note from Don Ho thrown in as an accent. There is one way out. I am not sure what it is, or if it ever gets decided on, but that is for future study, and another reason that I love to listen to this band. Earlier I mentioned that their songs have served as a sort of songbook for my life, and something tells me that this song will eventually hit me at exactly the right time, giving some comfort when one of life’s inevitable breakdowns occur.

All In Favor goes sixth on Pacific Dust. It starts slow and mellow with a simple campfire strum and an easygoing lead working together. This song is a tune ostentatiously about the democratic process of making music, methinks, and serves in a way as a lovely sentimental self-portrait. “So we got ourselves a van/took it all across the land/ till one day on five we caught on fire/yeah, just like our egos/we took a vote and raised our hands up high/we’ll do this till we die/all in favor, say aye.”

Whoa. A direct rip at some unknown ski resort is thrown in, and throws me slightly off. I can relate, having spent a decade in one of those, struggling every day to remain as the bulldozers ate away at the native ground surrounding the resorts. The Hips once made a habit of touring the Rocky Mountain ski areas in a whirlwind string of blazing rock shows. It was in one of these that I saw my first mosh pit break out at a Hips show, which, if you know the band, is sort of comical. Note to self: Find out which obnoxious ski resort Greg had in mind when penning this beautiful balladic number. My guess, selfishly, is Vail. God I hope its Vail. Fuck Vail. Really….

And now for an upping of the previous dose of WHOA, interjected only after a second listen whilst on a mid-review, 10 pm run out to an abandoned military base where I was going to meet up with some amateur exorcists in an effort to walk through long-darkened barracks in search of “hostile demons” for a story that I am writing. Halfway there, the college kids who called me chickened out of having me on hand to chronicle their exploits, a bad sign for those dealing with much harsher demons than that of the local entertainment press, I proffer, as I roll back to the beachside abode and refocus on the task at hand.

The second WHOA moment that I speak of here is not even about the above tangent, however. No, this is about a lyric that I plucked from All In Favor in mid-drive home. There are several characters listed in the course of the song, strange sounding dudes whom a casual listener might think perhaps are just imaginative creations meant to fit the song. But there it is, near the end of All In Favor. Along with “Spider John”, “Pistol Pete” is lyrically named, presumably as a source of nostalgia, and I fucking know Pistol Pete, like far too well! I lived with that cat for two years in a dingy hovel populated by large dogs, baseball players, free-range chickens and various reoccurring personalities of indeterminate criminal status. In fact I have Pistol Pete to thank for introducing me to the band, as well as teaching me how to play guitar. When the wind is right, I can still hear Pete slurring out an affected, angry plea to “play some Stones!” at Hips shows BITD.

He was given the nickname due to his habit of getting trashed and passing out on the band’s Chico porch back in the early 90’s, where he would proceed to forego direct control over his waterworks from time to time to time. I last saw him a year ago participating in a professional whiffle ball game in Pleasanton, and he had not changed a bit. That dude will flip the hell out if her hears this.

And now the seventh song of the seventh record, the title track, Pacific Dust. Starting in space, Pacific Dust, the song, gathers itself gradually, reveals itself initially in tone to be the blood-sister song to Bluhm’s Cow Hollow Blues from his epic solo effort House of Bluhm, until a punching mad trio of synched guitars and Paul Hoaglin’s growling bass drop the karmic hammer, and splattering out in all directions is a surprising cacophony of classic psychedelia, followed by an orderly John Hofer high hat, bass drum place setting. That brief moment of calm gets energetically trumped by a pissed off, resolute-sounding Bluhm urging a deep-toned string of leaving-time explanationaries.

For the past year, the Hips have taken to playing sets specifically inclined towards psychedelic experimentation, and the results have been positively inspiring. This song seems an obvious benefactor of the stripping of the mores of pop/rock or country rock that the band has adhered to for a majority of their history, especially after starting off with a fundamental urge to jam back when they burned their first strings.

Now free once more to improvise, Pacific Dust ranges in mean sweeps and smooth caroms, ultimately feeling like a multi-stage, rocketing space launch.

The chorus of Pacific Dust, the song, comes on like a sudden, swinging, sliding, shirt-tearing, nose smashing street fight. At this point I begin to dance and yell into the otherwise quiet house here on a gloomy day in Monterey. I yell so loud that my old dog, Bear, who is about 95% deaf, bolts up from his rainy day bed and starts howling out of blind allegiance. The cat flies off the bookshelf and takes off in a desperate run for the bed, where he hides underneath, red eyed and worried.

Meanwhile my wife comes running from the kitchen with a piping hot tuna casserole in her mitted hands, a look of concern etched across her face upon entry into my cluttered office. But within seconds of her entry, I’ve got her hopping around with me, rocking out in her apron and pigtails like some Polish hippy chef with a penchant for boogying down with a pile of hot fish meat in hand.

The song has more hooks than a smithy’s tool shed, more changes than the congressional record, more surprises than a Wes Anderson film. It ends in the strangest of fashions, swirling away in a detaching metallic dirge that bends the mind and troubles the air.

And immediately we launch into the pop rock styling of Young Charles Ives. After the lock-step guitars run off a nifty opening riff, this tune takes on a familiar feel. It charges forward at times in the one-two-three syncopation seen before in a pair of older Hips number such as Do it On the Strings, and Tired Wings.

Dressed in prim vocal harmonies, and pressed on at times by guest player Jackie Greene’s light organ work and a moody string bit that suggests a Beatlesesque sensibility, Young Charles Ives is a compelling story song in the strong tradition of Mother Hips story songs. When history turns its narrow beam on this band twenty, fifty, even a hundred years from now, I believe that the lasting characteristic of these musicians will have been their ability to tell intelligent, heartfelt stories of people great and small in such a way that multiple entendres can take the listeners interpretation in a myriad directions.

The Mother Hips, photo by Andrew Quist

The Mother Hips, photo by Andrew Quist

Young Charles Ives tells the tale of a father and son finding musical connectivity together, and ultimately the emptiness of going it alone. “He came into the house and yelled “how do they make that sound?”/sat down at the piano and he tried/but the music that he captured, outside above the rain/set his mind a reeling/outside the bells kept dealin’” There is a beautifully quiet, orchestral and guitar jangle interlude that lasts for just a few moments near the end that might just well be one of the most impressive, ambitious moments on the entire record.

(Editors note – this and the following song are the only post-Original Listen edits that I am allowing myself.) Freedom is a regular theme in the bands canon, specifically in Bluhm’s work. The eight track, Are You Free is perhaps the kin of “I Can’t Stay”, an excellent, devastating older Hips tune that never made it onto an album release (it was a b-side on the Third Floor Story single) in which the protagonist was a male voice lamenting a former love who he might have seen on the highway.

Are You Free is a pained, yearnful story that mines a similar vein. I was at first quite harsh in my review of this song, perhaps thrown by two instrumental aspects of Are You Free, the drum tempo and a hammy synth fill. But now, after a few more passes at it, those snitty complaints fade away like distant thunder, and it is due to the deeply philosophical weight of the words that Bluhm sings, or rather asks of his muse – the homemaking wife, the one who may not have lived the whole of her potential. “Julie married up and away she did go/her husband has to work/and she’s often at home/everything that she wished for is right here at home/she stares out of the kitchen window/Are you free?”

The tune is led by a very forward break beat expertly laid down by Hofer, who has been called “The Human Metronome” for good reason. The guitars come on fast and mellow, giving way to a Tom Petty-like note pattern that reminds me in a good way of “You Got Lucky”.

Those lyrics strike a thirty-something nerve, and they get even better from there. I am sort of dissapointed that I didn’t really listen to them when I blasted the synth bits that serve to recast parts of the song as an 80’s nod to the Miami Vice soundtrack, which I love by the way, but not as a modern release. And I think that is an important aspect to this song that I did not quite think about or get at first glance. This might actually be the first smartly, subtly purposeful 80’s-era sound that the Hips have attempted, or anyone for that matter. And if you are going to break new ground, why not do it by digging a little in the old ground to see what you can use? Someday, even Civic’s will be classics…

Bandit Boy follows. And you know, I originally wrote here that the song fell short to me. And by doing so, I believe that it did give me a sideways tilt in that first listen. But since then I have listened to it a few times, and I think that I want to amend my first thought on it. This, my friends, is a truly powerful, even deviously mean song with strong, if slightly high concept imagery.

It is an up-tempo, slide heavy guitar rock song with a seriously heavy bottom and a killer breakdown,
There is a very southern rock feel to this song, and post-listen I am left wanting a handlebar mustache, an asspocket full of high wine and a shrink, and I am not sure if that is a good thing. That said, I do think that this song will grow on me, as it already churns with full rock fury and in fact may be one of those songs that comes across way better as a live number than as a studio release, a phenomenon that is not at all uncommon with the Mother Hips.

And finally, the eleventh tune. The closer. The one that will set the tone for the next record, which I am sure that the loyal devotees of the Hips have already started to yearn for. Clocking in at 7:36, Cheer Up Champ is the longest song to grace a Hips record in years. This is a different kind of song, spacey, ethereal, dreamy, and highly polished. Almost “soul” in nature and attitude, it too harkens back to the time before computers and robots and cell phone vibrators. From where I sit, its hard to tell if it’s a ballad, a bed time story, or a movement in psychedelia. Perhaps it is all three. The closest thing that I can think of to it is the song Motorhome. If, that is, Motorhome was taken out of the cottenwood canyons and deposited on the city streets, recast in a blue tone and fueled with a mixture of mescaline and Quaaludes.

There is a searing guitar solo that is fat and smart all at once, and harmonies to spare. This is a great track and an excellent closing number, ala Seaward Song and In This Bliss from past records.

Pacific Dust is a solid, rocking, if ambitious new record by the Mother Hips. This band has not once in their career chosen to stand pat and regurgitate their material. Instead, they have made careers out of shifting gears, attempting to push the boundaries that were pioneered by their own influences while maintaining their signature humility, grace, and eponymous skill. This is a band of men who are comfortable in their own skin, and gaining a sense of self-reflection as they forge ahead. If Kiss The Crystal Flake was a record about the phenomenon of time, then Pacific Dust is a record about making music, and it is a powerful, varied study on the process.

For those looking to see the Hips break out with a mainstream effort that will finally gain them the widespread exposure that they so clearly deserve, I do not think that this is going to be that record. This band is simply (and selfishly, given the state of commercial radio: thankfully) not made for radio, despite the fact that they have, in my opinion, many times over written some of the best rock songs in the past twenty years.

And to that dizzying list they add a few more off of Pacific Dust. Both the title track and White Falcon Fuzz are sick in very healthy ways, and may well serve as contemporary hits after all, although more likely via games like Rock Star or through cinematic soundtracks, for which, by the way, this band is a freaking gold mine. More likely, this record will further connect the far reaches of the audiosphere via hard work out on the long road, and the word of mouth from one fan to the next, earned one show, one record spin at a time, at that perfect time.

Third Floor Story, at long last, gets its place of prominence, though one might argue that the song would have fit better sequentially within earlier records such as Shootout or Part Timer Goes Full. But those times are indeed past, and I am beyond stoked to see it appear on this record. Cheer Up Champ is a stellar new song as well, and many of the others stand out as individually solid new songs.

I cannot help but think that there is here a song, maybe two, that might have been eschewed in favor of some long buried treasures such asLoup Garou, or the now-uncovered but unreleased rippers Desert Song or Mountain Time, or even a few recently released singles such as Childish Dreams, Colonized, or Blue Tomorrow. That may come off as a snitty, fanboy complaint, and I will own that if that is what it is. And who knows what contractual obligations exist therein? And who am I to question anything, anyways?

Pacific Dust moves the Mother Hips legacy forward and makes long, maturing strides musically and lyrically. Most importantly, Pacific Dust is a brilliant, seriously fun record.

As the New Yorker said so succinctly, the Mother Hips “sing it sweet and play it dirty”, to which I might add that they continue to relish in defining themselves on their own terms, with innovative, timeless music.

Marina, CA

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Hipnic at the Miller


by Corby Anderson

You don’t really need a map to get to Big Sur, out on the Central Coast of California. Certainly a keen sense of direction is of no use – the temporal compass bearings and literal waypoints that might help, for example, one escape a poached radiator in the desert go uselessly batty once you have passed the Carmel River. The weird energy that leeches southward of Point Lobos is all pervasive, its vortex too strong, the magnetic discord bears out to be too confusing for even the burliest navigation systems.

No, there is not a single map in the world that can really tell you how to get to Big Sur. You just have to go. It will be where you need it to be.

Big Sur is much smaller than its legend might imply. Maybe that is because it an autonomous town, a large and wildly remote region, a Mecca, a river, coastline, or a state of mind, and a scene all at once. In comparison to its notorious self, the actual town seems to breeze by in a few blurry, redwooded seconds. Yet settle for even a minute anywhere within its gravitational pull, and those seconds are pulled and elongated like existential taffy, and suddenly become days, lifetimes, and eons.

It is this rhythmic massaging of time and place, nature and energy that is the reason artists are drawn to the place. Robinson Jeffers, Jack Kerouac, Ferlinghetti, Baez, the Westons, Hunter Thompson, and many other writers, sculptors, musicians and painters have existed there, but none quite so famously, perhaps, as Henry Miller.

Henry Miller was a sexy beast of a man. His novels were banned in his home country for much of his long, distinguished career. The closet degenerates who manned the social mores at the time had ol’ Henry pinned as subversively indecent and amoral. By today’s standards, his work was PG, and in my own estimation, the man lived a good, long and happy life. He was a literary massive. His writing is as good as any that has ever found paper, and even in his advanced years, he seems to have been surrounded by talented artists and a steady stream of comely, adoring women.

That Miller’s memorial is nestled in dense redwoods, on a nice flat piece of Emil White’s old property that boasts a wide lawn, which fills in the lee side of a cliff-tracing S-turn, seems appropriate.

He is notable for literarily applying consistent pressure upon the fearfully erected cultural walls of pre-1960’s era sexual awareness, (thus, the eventual liberating revolution of “free love”) and so Miller is really one of the fathers of the Beats, and the subsequent Hippies. In other words, disregarding the history of White and Miller and the donation of such lands, what better place to put a library honoring such a man? A little bit of calm comfort in the woods, a little risk getting there (and even more in staying), and a rack of giant phalluses to mark his spot in the world. Done.

The Mother Hips are a band of men who play music, which generally could be defined as rock and roll, though many have tried to put them into genrenical boxes, which they tend to gleefully reject or repurpose. The band is positioned now, and perhaps always has been, as a musical bridge between the cultural phylum of the weathered but still truckin’ Hippies, and a more modern, techno-savvy, culturally ironic lifestyle variation known as the “Hipsters”.

The overall philosophical difference between the two is actually pretty vast and essentially generational (though there are “new” hippies made all the time), such as a car mechanic might compare an old Volkswagen to a new Prius. But to continue with the analogy, if you will – both of their bumpers bear many of the same stickers and their wheels all cover the same ground, even if the pace is not always the same.

The Hips, as their long-traveled fans have come to call them, are at the present career intersection of Haight and Rothbury, and thanks to their ability to draw from multiple cliques of personality, assembling an interesting crowd to attend, and bands to play their first ever self-produced music festival was likely no problem at all. The same circumstance is why the Henry Miller Library is the exact perfect place to host the “Hipnic”, which was a family-friendly, two-day picnic at the Miller held over the Fourth of July weekend.

Because most people who still have jobs were given Friday off to complete their three-day weekend, the concerts started on Friday afternoon. The first band to go was Citay, who derive their name from a common slang term for “city”. Citay is from San Francisco, which is a city.

Unfortunately, I tend to suffer from mild dyslexia, which combined with the steady wafting barbeque smoke from the festival grills likely caused me to insist on calling them “satay”, as in, speared chicken. Citay’s performance felt fresh, authentic and punchy, and gave off tremendous energy to kick off the festival. My frazzled notebook says that I thought them to have the qualities of  “searing”, or “some other word that means compellingly energetic.” It is possible that I still had hot chicken on the mind when I wrote this. A man can work up a mean hunger standing around in the woods watching music.

Singer Ezra Feinburg, a talented front man, who, as it turns out, and despite all appearances, is definitely not the guy from Pitchfork Tuning, talked afterwards of his love for this particular holiday, though not in the typical patriotic way. He spoke serenely of family and togetherness beyond country and politics. As we talked, a pugnacious Texan neighbor of mine named Spencer chimed in. “You guys were great,” a comment which earned a calm reply of thanks. “Yeah. I was shocked!”

Instant awkward silence. I took this opportunity to stare up at a very large tree, wondering what might be said next. Ezra seemed non-plussed, but gave no words. “I mean, starting off as the first band, and all…You never know. You. Just. Never. Know, you know?”

I cautiously sipped my beer, and Spencer went on backpedaling himself into a hole. It was a wonderfully cringful thing to watch, and that interaction, combined with my own lack of journalistic backbone, a huge plastic tub of free beer, and a very interesting scene outside of the festival, caused my role as music reviewer to alter drastically into that of historic essayist. There would be no more interviews with bands henceforth but for my fear of them realizing that I had not watched their whole sets, since I was wandering around staring at trees and taking in the impressive parade of two-wheeled corner slingers.

The Curve, as it became known, is a world-class chicane which traces around the Miller’s frontage, and is ingeniously sloped at somewhere between 10-20% grade. In terms of flow, it rivals any of the banked turns up the road at Laguna Seca Raceway, which happened to be on this very same weekend hosting a concurrent and wholly contrasting event known as The Festival of Speed.

There, thousands of motorcycle enthusiasts scream into their Valhalla from all parts, where they meet up, possibly drink, pound on each other’s helmets, and then race off down the coast in furious clutches. A good rider can take The Curve at probably sixty, or even seventy miles an hour, judging by what I saw in my time out front. It was quite an impressive sight to see a string of bikes jet by in single file, fender to headlight, drafting off one another. I suggested that maybe we should put some signs up on either end of the road approaching the venue to warn people to slow down, but a local told me, in all seriousness, that someone would just throw whatever signage that we set up off of the cliff.

Back inside the groovy old wooden gate of the Miller, Red Cortez had the stage, and played what I thought to be a good blend of pop rock, which vocally evoked U2 and Coldplay, while musically recalling the churning power rock of Weezer.

As we stood watching the children run around in crazy Family Circle patterns, and as other parents made stooped-backed lunges for the ones who went careening off into the trees, Spencer gave his unadulterated opinion of the in-between acoustic set played by a gentlemen known as Levi Stromm.

Levi is a local kid, at least currently he is, and has a good amount of local buzz.  I had been looking forward to hearing him play when I saw his name listed on the bill, but had missed his acoustic set while out on one of my moto-gawking forays. I wondered if he would play again later. “Don’t bother,” said Spence. “He’s not sad enough.” He said matter of factly.

Spencer’s dad has a long history of owning rough and tumble blues clubs down in Austin, Texas. His mom, once she was split from his father, dated Townes Van Zandt. He grew up in the lap of ZZ Top, literally. His first car was a stolen Cadillac. He once killed a boar by jumping out of a tree and stabbing it with a knife. I generally defer to his opinion on the notion of toughness.

“Well, maybe he is just happy to be here, like right now, with all of us here, at the picnic,” I offer as counter point.

“No, no. Not really. What he needs, if he wants to be a real blues man, is to have his soul raped. He needs to have his girlfriend cheat on him with his Grandfather, or something. Get shot. Play for Dinty Moore. He needs to sell his tuner to the devil. That kind of thing.” He said this with a hint of laughter, but I knew he was basically speaking honestly, as he sees it.

“Good God. I thought he was just a folk singer,” I said, watching the happy seeming Stromm wander through the crowd, his brown fro of curls bouncing with each energetic step. “I had no idea it was that bad.” “Yep. Here, hold my beer,” he said, reaching for his wallet. He walked over and tapped the tall singer on his denim shoulder. They talked for maybe a minute, with Spencer doing most of the talking. Stromm mostly smiled widely, until the end of the conversation, when his grin flattened noticeably. Spencer held his wallet in his hands as they talked, but never did anything with it and put it back into his shorts as he came back over to where I stood. Judging by the look in his mischievous eyes, I thought that perhaps I should run, or maybe just hide.

“What did you two talk about?” I groaned. “Oh nothing much,” Spence said contentedly, taking his beer back. He took a long pull. “I just told him that he needs to suffer some.” He paused. “Well, a lot. And then I offered to give him $200 for a one-way ticket to Austin, with orders to never return until his very soul ached with injustice.” I sipped my beer and tried not to let it fly out of my nose, as it wanted to.

At some point in the afternoon, a band called These United States played a set. These United States are a cohesive team of professional musicians who definitely look and sound the part. Their style is a little hard to define, but tends towards lo-fi rock with a little prog-nificance folded in, and sounds maybe like what Modest Mouse, Chuck Prophet and Uncle Tupelo would sound like if they all had/got to play together. Lyrically, they are impressive, with dense portraitures accumulating around witticisms and wordplay.

My notebook has but one other note, and that is a small critique of TUS. For my tastes, at that time, singer Jesse Elliot seemed to lean on the crackling high end of his voice a little excessively. He raspeth too much, I wrote at the time. Listening later, and reading more about the band and their origins, (Elliot was a journalist prior, doesn’t really consider himself a musician, and yet has taken on some pretty interesting projects – including a Song Diary Project, which is 365 songs in the course of a year) I find more and more substance to their message and the way that it is presented.

The stark western sun beat down as the afternoon progressed perfectly at the Hipnic. As the assorted bands dazzled the families who sprawled out on the cool lawn, a curious pair of black hawks circled overhead, spying on the hubbub below. As the venue filled up, it was clear that there was a joyful vibe taking hold. Those who sacrificed missing the earlier bands due to their need to commune with a little nature gushed of the boundless recreational activities they were afforded. Smiles took hold and never faded. Old friends slapped backs and new friends clunked plastic cups of beers in honor of the scene and their commonalities.

The Moondoggies played, but unfortunately I missed their set due to an encounter out on The Curve. While trying to get to my own car for a cold beer, I stumbled on a long white van parked nearby. The wheels on the van were making a scootching sound in the gravel below, and I could tell by the swinging feather amulet that hung from the rear view and from the tell-tell rhythmic squeaking of the shocks that the van was, in fact, rocking. It was a scene straight out of Up In Smoke, and I laughed myself so silly that I forgot to get myself a beer, and instead turned around and went back to the front of the Miller, where I was set upon by a man with a large knife and a lemon.

He sliced the lemon in big cavemanesque curls of the blade, and when he had filleted a slice, he danced his eyebrows a few times, which I took for the universal motion meaning, “Want some?” I declined, seeing as I had no use for a lemon wedge that I could think of, and instead watched him gum the lemon slices while he told neighbor Spencer and I a tale which seemed so implausible that it nearly shocked me sober – no easy task after a sunny summer afternoon of beer and tunes.

Bedraggled and freely defiant of social stigmas such as personal reek and close-talkativeness as he was, our acidic new friend spoke low and seriously about an incident which had happened in the very spot where the bouncing van was parked just the night before.

There, he said, a man had stopped his car to talk, but instead of asking for directions, or offering a ride, the guy in the car offered the lemon man a drastically brutal choice: Jump off the cliff, or be shot in the forehead. As he told it, the man was dead serious, and held a pistol by his side. So he jumped, and somehow survived the hundred or so foot drop by clinging to ice plant vines just over the ledge, until the coast was clear. That is where he found the lemon, it seems. Out there on the cliff someone had ditched a bag of the things for no apparent reason, he said punctuating the conclusion of his story with a creepy lemon peel smile.

I never got that beer, but did manage to shake loose enough to get back inside the Hipnic, where darkness was drifting ever closer, and the hosts, the Mother Hips were welcoming the crowd officiously. The Hips started out their show with an incredibly slow version of Mr. Soul, the Buffalo Springfield number which they have been want to play for a long time. The effect was palpable, as the crowd swayed gently while listening. The rest of the set seemed equally subdued, even with the presence of a few of their time-changing, energetic rock songs like Magazine, Poison Oak and Honeydew. For each of those, however, there was a balancing tune of country or balladic nature – like the Everly Brothers Gone, Gone, Gone, Collected Some Nerve, or Melody Fair, by the Bee Gees.

The highlight, for my money, was the last song of the night, a new number called This Dream, which is a galloping country tune set to vivid, spirit beckoning lyrics. There had been mention prior to these shows that there might be some new tunes off of their upcoming record, and I spoke with two different fans who expressed hope that This Dream would end up on the new record. It would not be beyond the pale, however, for the Hips to write such a great song, one that any band would be thrilled to have in their repertoire, but not to include it in LP form. It has happened before, and remains one of the many interesting side-notes within the growing discography of one of rock’s great secrets.

The show ended at 11 pm, or thereabouts, and it was only then that I realized just how many yards of ale that I had poured willy-nilly into my gullet. Walking was difficult now, and everything seemed so quiet outside under the ripening moon. There were no more motorcycles to contend with, so I danced in The Curve until I broke a sandal, which for some reason I then sent flying off into the chasm before me, near where the lemon fella nearly met his maker.

Someone drove us all back safely, and like ravenous jackals, another Texan named Cameron and I tore into a pile of frozen Costco hamburger meat that we barely even took the time to singe over the dimly flickering fire.

The womenfolk who had stayed behind to watch the kids on the first night of the Hipnic (thinking being that kids would only be manageable for one full day of music) were all asleep but one, and she urged us willfully to FOR THE LOVE OF GOD, PLEASE KEEP IT DOWN!, which we did to the best of our abilities amidst the clatter of camp cookery and snorts of scotch.

There were at least five kids sleeping in various tents at our site, and now Spencer was passed out, so that made six. After flipping four hamburger patties using nothing but my whiskey sterilized fingers, we ate the meat with just a corn tortilla wrap for each, and then retired  – some might say were forced – down to the river, that magnificently wide, ankle deep creek that Kerouac made famous in his terribly depressing novel Big Sur, where Cameron and I played the song Down By the River for at least an hour.



The morning unfolds slowly at the recently nearly burned (last July) Pfeiffer Big Sur State Park (not to be confused with nearby Julia Pfeiffer Burns State Park). The creek burbles on down the grade towards the sea, a flock of chattering blue jays zip by from tree to tree, the old branches of the tremendous coastal redwoods creak and groan above, and the sound of the morning campfire crackling away in the pit lulls the pickled mind of the summertime camper.

The soft strumming of an out of tune guitar drew me up and out of this preternatural nesting, and the next thing that I knew, sitting in my lap were four different recipe varietals of eggs on a single paper plate, and a cold Rainer beer sat coozified in my hand.

Walking by the camp was a chipper looking blonde lady. As her figure drifts behind the massive trees that block site #65 from the road in places, a strange realization distracted my egg consumption. I tell Spencer that I think that I know this person.

“She’s been walking a lot,” he says, half-interested, while three kids hang off of his legs as he stands stirring his Bloody Mary. The walker emerges from behind a tree and I take a closer look. “Hey!” I yell, intent of satisfying my curiousity. “By chance, is your name Meghan?”

“Why yes,” she says surprised.

“Great!” I counter, rising to greet her. She carried a travel tray filled with four tall cups of coffee. “You don’t know me, but you are one of my closest friends. Well, top two hundred, that is.”

“Oh yeah? Is that so?” she replied, seeming amused.

“Yeppers. Totally. Facebook. My name is Corby. I’m the one with the orange van in his picture.”

Awareness softened her uncertainty. “Aha! I recall now. It’s nice to meet you,” she replied. I was just about to strike up a conversation with this long lost new friend when I heard a clattering commotion back at camp. “Your food is getting eaten!”  Someone yelled. It’s the damned blue jays. They have descended from the trees and have gang tackled my breakfast of quiche, scrambled eggs, sunny side up eggs, and hard boiled egg. “Cannibals!” I yelled, running back to camp with a pinecone in each hand and blue jay blood on my mind.

By the time that I returned, all of twenty seconds, my first breakfast was history. But this was OK, because I was immediately put to work back in my former role of Official Meat Turner. There, for the next several hours, I fried up heaps of Canadian bacon, several pounds of American bacon, an industrial sized can of Spam (Lite!), and various other potted meat products.

The kids in our camp numbered in the single digits, but seemed to be everywhere, and all at once. Big Sur is as much a wonderland for children (and maybe more given the grandiosity of scale) than it is for adults. There were simultaneous games of whiffle ball, badminton (with a downed log as a net), and tag going on all through camp, with some kids actually managing multiple events at once. This, I thought to myself, is how you develop Pentatheletes.

Soon, they all rush off towards the river with floats, buckets and scoopers, and tiny fishing rods. Meanwhile the adults do adult things, like bask in the warmth of their own existence, or read books, or happily flip multiple nationalities of pork.

It is right around this time that I discover, much to my chagrin, that I have developed some sort of chronic gastrointestinal difficulty. This concerned me a little, in that the only thing really wrong with the Hipnic, other than it being on the Fourth of July weekend, (which is incidentally also the best thing about the Hipnic, but which means that it is happening at the same time as the very popular High Sierra Music Festival), is the fact that there are only two bathrooms at the Miller. That there has been a copy of a recent poem of mine subversively pinned in amongst the funky bric-a-brac art haus decor of the main restroom for several months is of little comfort, since the line to use it is prohibitive, and guys are expected to make due elsewhere.

“Eat some shrooms, that’ll keep your mind off it,” offered the wife as a remedy, but I saw right through her dorm room pharmaceutical amateurism, imagining myself trying to grapple with twin convulsions occurring in my mind and my bowels simultaneously. “No thanks, I’ll pass,” I said, longing for a regular constitution.

Soon enough the crisis passes, the kids returned from their expedition, and we all excitedly loaded up into two jam-packed vehicles heading for the Hipnic. Once everyone was safely inside, it was time for some serious Fourth of July relaxification. The country rock outfit Travel By Sea was already playing, and I tuned in as best I could amidst the throng of excited kids, the determinably glorious sun, and the shooting woods. It was all so much to take in, again.

Travel By Sea has a back-story unlike any other band that I have ever heard of. Formed originally after meeting on the Mother Hips remarkably talent-laden fan site, http://www.the-grotto.com, Kyle Kersten and Brian Kraft then proceeded to make not one, but two good records while having never actually met each other throughout the entire process. Kersten lives in San Diego, and Kraft is a Coloradoan. The first time that they met was at their own CD release party. Interestingly, Kraft is somewhat absent at the Hipnic, and in his multi-instrumentalized place are two Pinata’s and a lap-steel guy with excellent skills and the requisite beard.

Dan Moore and Trevor Gerhard are two of the favorite people, not just musicians, but people, that I have ever met. Both played in a series of bands that all caught my fancy starting back about ten years ago or so, first as 5 Foot Tuesday, and then, when the Mother Hips went on hiatus, they joined forces as the backing band for the Tim Bluhm Involvement, and finally as the now paralytic Piýata.

Their Morphine Country Guitars remains one of the best country rock songs written in the past decade. Now they are in Travel By Sea, which is a great pairing of philosophies and personalities, though as of yet the partnership does not seem to parlay the true talents of the two into band form, but their performance was noteworthy in its execution, and you can tell that the four are onto something. Kersten is the driving force, it seems (there may have been one or two Dan Moore songs) and his songwriting is solid and purposeful in its long-gone sincerity.

Sitting on the lawn and sipping whatever beer it was that flowed for two days out of the official festival jockey box, I got the feeling that this is the music that I would want playing on my GE tape cassette player if I was driving a battered old Chevelle through the Kansan plains at sundown; leaving sweet, soft lipped Lisa back home at the farm with a cold ring and a warm promise to have ourselves a real wedding when I get back from the Middle East.

The songs are wistful, full of new dreams and mourning for those that have fallen away. It does seem appropriate to mention that this was only the third performance together, and that Travel By Sea had a great set. My suggestion to them, and I believe that it was taken well, was to mix in a few more romping country type numbers, of which they are definitely capable of in a Jayhawks, or Ryan Adams’ Cardinals, way, to keep the audience pulsing to the slower laments.

One thing that I never thought that I would end up doing at a Mother Hips picnic in Big Sur was becoming a player agent for a two-year-old, left-handed phenom from Sunnyvale with two nicknames. Shane “The Train” is still in diapers, but possesses the natural ability to scorch the hell out of a ball with a bat in a way that I, nor anyone else, have ever seen before.

Shane is Cameron the Texan’s kid. Dad goes a stout 6’2″, so projecting “Crash” (his other nickname, given by me to honor his catchers instincts) it is easy to see big league potential in his every enthusiastic swing. It should be noted that his first contract is only good through next week, with payment consisting of a few Wheat Thins and a binky, and was signed in what looks to be blended peas. Still, if anyone needs a backstop on their club and has a few extra jars of Spaghetti-O’s, hit me up, well, until next Sunday, that is.

Fueling the Hipnic experience for our camp, which is currently unnamed and still searching for an applicable identity, are two large tubs filled beyond capacity with 16-ounce cans of Rainer Ale. How I ended up with so much of the stuff is a long and complicated tale, but suffice to say that I have an enormous stash, which seems to get a little harder to drink with the opening of each green tallboy. At first, our mantra – “Rainier Ale is the best beer that we had ever had” –  was apropos, and borne of the reality of the sheer volume of free beer that I now managed. But that quickly fell by the wayside as each of us discovered just how much we preferred just about any other beer than the one in hand. Being the burgeoning capitalists that we are, we thought for a minute that we might even sell the excess beer at the festival for a few bucks a can, but that plan was nixed when we realized that none of us wanted to stand around selling beer at the Hipnic, and later affirmed by its popularity, or lack therof.

Not shocking was the recent beer review that came from beerpal.com, in which someone from Ontario commented “Yuck, yuck, yuck, yuck. A very pale yellow, no head, yets (sic) lots of effervescence,” it read, and I thought that it might describe a few gals that I’d dated in college.

The review continued. “The aroma is grainy malt, and grassy taste dominates the flavour. Avoid at all costs.” Rainier Ale was given, by the beerpals, a rating of 2.142, out of a possible 10. I would not quite be so harsh, perhaps because I am literally swimming in the stuff. I would say that it is maybe two Yucks, and a low 3.

Yet despite our collective weariness, it is beer, and boasts a 7.3% alcohol kick, and comes in very tall cans which allow for large ceremonial splashes for all the homeys. And their homeys. And any homies, really. Michael Jackson, an alleged pedophile (this, of course, open to major debate) and totally weird guy  who none of us particularly liked very much, other than his song Beat It and that one with Paul McCartney, was memorialized at least a hundred times in roadside ceremonies out by the truck, where refueling was concentrated for most of the two days.

What was shocking was the decidedly lukewarm reception that our gift of cold, American beer received out by the front gates, where thirsty looking festivarians regularly turned down a free can. One guy, a randy small-stage folk singer – who minutes before had managed to bash his right eye in with his own guitar and whom actually had it patched together by a nurse while he continued to play his song, all while stooped over so that she could reach his split eyebrow – happily took our offering, until he glanced down and looked at the can. Even with a bloody eye, he could see that he wanted nothing to do with Rainier beer. He handed the chilly can back with a caustic beer face etched all over his battered mug.

Getting beer into the venue was getting to be a hassle. Normally, I would just pay for festival beer and support the cause, but in this case I was coming in totally broke, spending rent money just to get there. My only saving grace being that it was a holiday, which meant that I had another day or so to try and come up with the remaining dough to pay Evelyn the landlady. Also, considering that I had an endless supply of free beer, skeezy as it is, it seemed the obvious choice to just buy a house cup and then refill on our own dime. At least that was my plan. I guess my co-conspirators did it out of loyalty, or perhaps sympathy.

Supplementing my buzz was a large plastic handle of Seagram’s Seven whiskey, and after dodging derelict Ducati’s for two days, by 3 pm I had finally had enough with the car-refill shuffle, and decided to bring the heat in with me. That is where the poncho and the baby stroller came in handy.

Nicki Bluhm and her band grambled their way onto the stage at about this time, and proceeded to give a command performance that was truly a highlight for a gaggle of young, suddenly smitten young kids. There is just something about her overall grace and poise that is incredibly magnetic and happifiying.

Paul Hoaglin from the Mother Hips more than held down the bass duties in the absence of regular Grambler Steve Adams, who himself was off in High Sierra Music Festival-land. While we watched the Gramblers, Dan Moore relayed a story about Paul that speaks to his musical intuition and innate skill. Dan’s band (I forget which one) was playing, and maybe someone got sick, or injured, or ran off with a little filly, or whatever, but this absence left them without a bass player. Paul stepped up, without a single practice, rehearsal, listening, or anything, and played nearly note-for-note what he should have played, had he actually heard the music, for the entire show. The man is that kind of musician, the kind that you want down in the trenches with you in the heat of battle, or in this case the heat of the Fourth of July, which was actually a quite comfortable 82 degrees, but you get the drift.

Every time that I hear Nicki’s band play, my appreciation grows twice-fold. Their songs are really, really good, with dynamic, interesting lyrics and differing musical styles. They combine power, punch, and courage. Husband Tim and Nicki have such a natural chemistry onstage, and their joy playing together comes through, lacing the quality of music that they make. Deren Ney is a large part of the equation too. His raunchy guitar  fills and screaming, sliding leads perfectly punctuate Nicki’s confident voice in combination with Tim’s harmonies and picture perfect rhythm strums.

Perhaps it was presence of the female lead, or the down-home, at times knee-slapping country stylings of the Gramblers, but I think it may be true that the crowd, at least the daytime crowd, responded best to their set than any over the course of the two-day fest. One aspect of her presence that ingratiates her to her listeners is that she regularly recognizes the crowd, in this case shouting out to my new friend Betsy, who was at the back of the lawn doing tricks with her pup Leia. “I don’t know about you, but I’m having a blast watching that dog back there! What’s its name? Whoa! Look at that!” Nicki shouted, as Leia performed a standing leap at least three feet high up to a waiting stick.

When the bands last note wafted up into the crowded sky above, the gathered picnicker’s cheered loudly and coaxed an encore out of Tim and Nicki, who sang a beautiful, perfectly timed (for crowd and band, it seemed) version of the old familial Danny’s Song, by Anne Murray. It was the kind of song that bonds people, that makes a crowd into a group of friends, and not in a Kumbaya, wishy-washy way. It is a song of real hope and dedication, of helping each other through the fog. “Even though we aint got money, I’m so in love with you honey/everything bring a chain of looooooove/and in the morning when I rise, bring a tear of joy to my eyes, tell me everything is gonna be alright.” Simple strums and goose bump harmonies, sung out to a sun-cast, appreciative family.

A neighbor girl, all of twelve, rushed up to me after and asked if I could get her an autograph from Nicki, who not only accepted the offer with coolness and sisterly instinct, she asked if Adriana wanted her face painted, and then proceeded to paint an American flag onto her newest, biggest fans left cheek. The look on Adriana’s face was priceless. She was affected, changed somehow. A bright light was now on, whereas its chain had been unreachable before. This must be how teachers feel when they strike gold in a students mind, I thought. A parade of stoked kiddos followed, and she painted them all there in the cool shade under the yawning branch of a big oak tree. Shane the Train came back from his own face painting experience with the appearance of being stuporishly drunk with love.

The scene was, by that time, and after three days in, such a thing of all-around pleasance, in fact, that you could have walked right up to me and told me that Sarah Palin had quit as Governor of Alaska and I almost would have believed you.

Now, most music reviewers would be not only excited about, but cognizantly effort a close listen to the following four bands. That is why I decided to become an essayist halfway through. There was too much stimulation, too many people to meet and spend a little time laughing with. The bands rolled on, but I was helplessly immersed in the minutia of Hipnicing. I was in the barrel, as my buddy Todd Walsh would say. Nothing could defocus me from my utter lack of focus. Or something like that.

Thus, what I mean to say is that I have very little to add about Parsons Redheads, other than that they played a mean dueling pair of tambourines onstage with the Hips later, and that they have red looking hair. Nor do I have much on Sparrows Gate, except that they are true characters and that I delighted in watching them walk around the Miller for two days, like some back-timed vision of a different era, visions of 1969, etc…

I did catch Little Wings. Spencer and I stood talking to the barbeque crew as the aformentioned Mr. Bluhm, who plays drums in Little Wings, and his mates did their thing on stage. For some time, in between unsolicited suggestions as to when I thought the meat should be flipped, I tried to figure out what was going on. The singer mumbled and lurched as if stricken at times. A guy sat stage left and toyed with an acoustic guitar, smiling widely. It was not clear if he ever actually hit any strings, which may have been a fault of my own poor vision, or that of the soundman, who otherwise was pretty great. Singer Kyle Field is a tough one to grasp while in the tank with a hundred ounces of pale beer or more. I thought for a minute that Daniel Johnson had lost a lot of weight and grown a beard, such was the pitch of voice and purposeful weirdness, or even possible genius, of tune.

I was closely studying a chunk of burning chicken meat when I realized that I Got It. I suddenly understood everything that Little Wings were about. But then I lost it when a rogue Cameron kicked me in the nuts. My revelation had something to do with the word “camp”, but like satay (the meat, not the band), it might have been situationally confused.

And now I see a person that I want to meet. Dennis Cook, the great music writer for Jambase, is talking to Paul Hoaglin and Rachel Meyer out in the crowd. He is a rather stand out person, even just in his mussy, writerly appearance, and I peg him correctly as who I thought that he might be on his Big Light t-shirt and the Amoeba Records bag on his shoulder. I walked up to him and introduce myself, saying that we had some things in common. Amoebas for one thing – his being the record store, and mine being the awful bug that had (un)saddled me earlier.

Also, writing was a shared commonality. Cook was as gracious as could be, and offered up a steady string of comparative musical references to bands that I had never even heard of, and it struck me that this is why he is a real music writer, and I am just a chronicler of human behavior. The writer offered me a mixed CD made especially with the Hipnic in mind, a gift that I appreciate still. Also, he was chronically inclined, and we shared a healthy bowl of regional  greens, a symbolic moment, to me.

Earlier in the day, I had received word, somehow – via a text messaging system that was otherwise normally and perpetually (and even thankfully) retarded by space and systemic limitations – that Everest (the band, not the mountain) had blown away the rock photographer Andrew Quist, who had seen them the night prior at the High Sierra Music Festival. His text was full of intrigue. He used the word “tornadic” in describing them, and I was quite excited to see what that meant.

But, again, my focus was lost, gone down the river, over the ledge, and out to sea where it floated like a giant red bobber. My notes were scattered, and I have not much to add, unfortunately, about the ballyhooed band that had just been on tour with Neil Young. Maybe that is for the best. Had I been able to pay proper attention, there is a very real possibility that I may have offered them a round of Rainier beer in celebration, and that interaction alone might illicit a thousand word aside. For those who care, I heard from reliable sources that while not necessarily tornadic, they did evoke elemental force, perhaps something more along the lines of a powerful cell of clouds.

Rambling around in the confines of the Miller was a photographer, graying at the temples, mustached, bearing a large grin. It was a man who I knew but did not know  – another internet friend. Jason is his name, maybe. We met officially,  high fived, and I commented that his photo of the Desert Rocks Festival had been my favorite of all that I had seen. He offered a smoke and so I went out to his car, where he asked how I was fixed for hooch. I told him that our supply was running short, and he offered up several large twigs of grass, which I stuck into my almost depleted Copenhagen can.

Later, that too was smoked, and in doing so, a tokee commented on the interesting flavour of the smoke. A tiny bulb went off in my head, illuminating a great, vast expanse of empty real estate, but finally working its way to a tiny crevasse that serves as my idea center. Flavored dope. Yes! That is it! My day has come!, I thought. That is how the tobacco business can survive, and thus, myself, in an ironic twist. I started an inner pitch letter to the R.J. Reynolds tobacco company, but later found that I was out of mental stamps, and returned the letter to myself, undeliverable, courtesy the Big Sur Post Hole Commission.

At exactly 9:03 pm, star time, I realized that I my brain was thoroughly lacquered. I was happy and I knew it, and I clapped both hands almost at the same time. “The Mother Hips are back!” I yelled. “But they never really went anywhere!” Spencer replied as the instruments were holstered to a bawdy cheer. “It doesn’t matter, man, they are back!” I screamed at the electrocardiogrammatical pulsing of Grizzly Bear’s (the song, not the band, the symbol, or the meat) foremost notes.

The previous night, on Friday, the Hips were off a bit. It was discussed. To those who study these things, the set list shows it. There just seemed to be a slight lack of their usual punch and their considerable recent energy. That reality mattered very little, though. I think that this was true because of the incredible, historic setting, the new family that was gathering, and the amount of fun that the band seemed to be having. Besides, who am I to begrudge a night of relaxing rock to a band that lays every ounce of their beings on the line everywhere they go? And anyway, it felt more like a party than a concert, at that point, with the world’s greatest backyard band.

In retrospect, I now think that any band is going to sound and act vastly affected by the actual and subconscious temperature of Big Sur. You could take Metallica and set them up on the stage, and you might walk away thinking that you had heard Bob Segar channel Woody Guthrie. Anything can happen.

On Saturday, the Hips reclaimed the spotlight, and it shone brightly back into the crowd from the glinting on their musical apparatus. Dancing were new friends, whose actual names I had learned earlier, but who I now revert back to their online handles, which says a lot about the way that we form communities anymore. There is Hipjack, Buzzy and Marcell, John in Mountain View, Jasound. Strange names for good people, now dancing with their eyes closed, grinning like mad. And Todd, like his dog Leia earlier in the day, jumping in place, reaching for a musical stick.

It was magic. It was a fucking picnic, man, and the meat was on the grill. Beautiful women with high cheeks and cool hats wiggled their assets. I thought for a minute that I was standing next to the gorgeous figure of Joan Baez in 1970, but then I realized it was someone new, maybe better, and it was only, like, maybe 1992. Whiskey pulls and talks with Jay the guitar tech and again with Dennis Cook, who leaned against a bobtail production truck with a look of satisfaction on his face, a notebook in his hand. It is comforting to know that someone good was here to write it all down. I had no confidence whatsoever in my own notes, and chose rather to play now and pray later. Still, I have never heard of a magazine that would accept a 9,000-word concert review, especially if there is very little actual music reviewed, so I was counting on Cook to capture the essence in digestible form.

Over the next two hours, there was a substantial bounty of great music played, including a remarkable Parchment Farm with aforementioned Redheads in the old Convoy slots sharing the stage as backup singers. It got me thinking, who might – if this is to be an annual party, as all indications point to – I invite, were I the Hips? Certainly Jackpot. Billy Midnight would be so excellent, if they are still keeping their spurs sharp enough to ride. Maybe Jackie Green, if the place could hold all of his hats.

Out back, I saw guitarist and singer Greg Loiacono, and we chatted for a minute. Earlier, I had seen his young boy watching intently as Nicki Bluhm and the Gramblers played, and I remarked to him how interesting it was to see the guitarist’s son paying such close attention to Deren Ney’s stylish playing. We spoke of how to make Hipnic even better. He said that he hoped to make it a different weekend in the future, and we considered late July, or early August as a possibility. I drunkenly offered, as I am wont to do, that I thought that it would be a great idea to make each year a special performance for Hips side projects, such as this years inclusion of Little Wings and Nicki’s band (though they in particular should remain a feature). Tim Bluhm Involvement one year, then maybe Sensations, Ball Point Birds, The Sheets. Skinny Singers would be great. So many possibilities for the thing. So much music to play!

Once again, someone took us home. I do not recall the drive, only that I ended up right by the fire again, flipping meat. I looked at my hands in the orange glow of the best campfire that money can buy, and they looked like a chaotic string of lottery numbers were written on them in black roller ball ink. 117, 205, 226, 24, 12. I realized later that they were campsite numbers for people that I had met at the Hipnic.

Suddenly I became self-conscious about an earlier prank that I had played.  After the show, I had walked around the outside of the venue, shouting about a major orgy going down at site #69, a site number chosen simply out of middle-aged delinquency, which was just down the road from our own, as it turns out, and for all that I knew was populated with decent republicans. I thought about making a large sign admitting my error and placing it at the entrance to their camp, but soon forgot when I was whapped upside the head with a   badminton racket by the ever-predictably unpredictable Cameron. Besides, for all that I know, it was true, and I had simply acted as a benevolent recruiter. Better not to bother them now, in the middle of it all.

Spencer had requisitioned a massive pile of ribs from the vendors, likely buying out the lot. After reheating them on the fire, and then promptly destroying a mess of the things, we all sat around laughing at nothing and everything, our teeth like rakes spearing porky leaves. I was using a sliver of redwood to liberate hunks of pork from my top few barnacles, when the crazy Texan dropped a tinfoil cage of live crawdads on the fire. They were technically the kids new pets, and the sight of them frantically trying to escape their doom through the top of the aluminum ball sent several of the ladies scrambling to make sure that their brood was all asleep, so as not to shock them unnecessarily.

Spencer and Cameron sat around looking at an old-time tittie mag that one of them had bought from the Miller for sixteen dollars. It was from the early fifties, and featured burlesque shots of Ann Margaret (what a dish!) and featured a fictional story by Mr. Miller himself. The vintage magazine was great, but it worried me slightly that the Miller Library was selling off the mans stash bit by bit. “Maybe they have a backlog of historic smut,” Spencer said, which seemed logical. Just then, I attempted the common maneuver of walking, but my right shinbone met with stiff resistance from the metal brace of the picnic table bench. Blood oozed from a gash that sat atop a fast rising skin biscuit. Oh well, I thought. It wouldn’t be a camping trip to Big Sur without a good rusty hematoma to remind you of the good times you had.

Sun ends dreams. That should the headline for July 5th, 2009. I had a good one going, but was startled out of it by the bearish sun, and a shout from nearby. I am not sure which came first. “CHRISTIE! WHERE ARE MY BUTTWIPES?” I heard sister Natalie shout. Jesus, what a way to awaken. I sat still and wondered if I were still dreaming, wishing that I had a catheter, or a long hose. A few groans from what I assumed where the other tents, a long silence, then finally “HURRY! SHANE’S GOT DIARRHEA OVER HERE!”

One by one, the picnickers emerged from their tents. I was flipping some meat and preparing more eggs when I saw a familiar face walking the road. It was the folk singer, Meghan, my old friend whom I had met the day before. She had four large cups of coffee in her arms, making for a total of eight hauled over the course of the weekend, and that was just what I saw with my own crossed eyes.

“How are you, my Facebook friend?” she asked, in passing. “Got a status update for today?” she inquired, laughing. I thought about it for a while. “Well,” I said, “there is this bit about a concert that I went to this weekend, but I get the feeling that it won’t all fit.”

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