Showing posts with label greensboro. Show all posts
Showing posts with label greensboro. Show all posts
Thursday, June 7, 2012
June 13th at the Flatiron
The Blockheads will be at the Flatiron with Slingshot Dakota (from PA), and The Old One-Two on June 13th. We're looking forward to this. Our album is going to be mastered in the next month or so, too. Really looking forward to that too.
Friday, March 9, 2012
Video From Monkeywhale.com
-matty sheets
Tuesday, February 28, 2012
Blockheads, Megan Jean and the KFB at the Green Bean. March 11th, 7pm.
We'll be playing with our dear friends Megan Jean and the KFB on March 11th at the Green Bean, downtown Greensboro. As it's a Sunday, the show will start early and end early (7pm start time).Check out the amazing flyer made by out good buddy Keith Warther ( @laserguided , Avant Greensboro).
The next night, Monday, March 12th, we will be having a show/party for our amigo visiting from Austin, Texas- James Marshall Owen. This will also be the Blockheads' two year anniversary, Erin's 30th birthday party, and my birthday. Megan and Byrne are going to stay in town to play another night and have fun with us. Suzanne Stafford, of Come Hell or High Water, will also play a set. There will also be music from Taylor Bays, James Marshall Owen, and myself- with some of the Blockheads.
This will be at an undisclosed location and will be a free show/party. Hint: It'll start around 8pm, which is two hours before the open mic starts on Tuesdays.
Sunday, April 17, 2011
on the subject of recording.
We (the Blockheads) have been a band for a little over a year now. We've had slight changes in the line-up, but most of us have been playing together since March 2010. We recorded some live stuff in a basement, some of which is pretty good. We played on Radio Greensboro, and the lovely folks at WUAG 103.1 FM (UNCG's radio station) recorded it all for us, and some of it sounds pretty good. Our entire set from that performance can be found on our website HERE.
Now it's a new year. We have some new players. We are developing a sound that's, as rooted as it may be to the style of music that we started playing, different. It's like we got a better boat.
So now that we've evolved a bit, we are going to make a recording. Right now we are shooting for a seven song EP or a nine song short album.
We will be working with David Driveway Moore on this project. He's a great producer, engineer, singer, and musician. We have worked together in the past, both in bands and on soundtrack music for short films from the illustrious Monkeywhale Productions, based here in Greensboro.
Driveway and I talk about working with Monkeywhale, Harvey Robinson, Carolyn de Berry, and music in general HERE in this video from MWP (Monkeywhale Productions).
It seems like a good fit, and a natural choice. Driveway uses essentially all analog recording gear, so our sound will be warm and big.
Being comfortable and relaxed at a recording session is priceless to me. I believe that this set-up, this producer, this band, and these songs, will all come together to make something good.
And I can't wait.
Hopefully we will have this done and available by late summer or early fall, depending on our pace and finances.
Have I mentioned that I can't wait to start? 'Cause I can't.
-matty sheets
Now it's a new year. We have some new players. We are developing a sound that's, as rooted as it may be to the style of music that we started playing, different. It's like we got a better boat.
So now that we've evolved a bit, we are going to make a recording. Right now we are shooting for a seven song EP or a nine song short album.
We will be working with David Driveway Moore on this project. He's a great producer, engineer, singer, and musician. We have worked together in the past, both in bands and on soundtrack music for short films from the illustrious Monkeywhale Productions, based here in Greensboro.
Driveway and I talk about working with Monkeywhale, Harvey Robinson, Carolyn de Berry, and music in general HERE in this video from MWP (Monkeywhale Productions).
It seems like a good fit, and a natural choice. Driveway uses essentially all analog recording gear, so our sound will be warm and big.
Being comfortable and relaxed at a recording session is priceless to me. I believe that this set-up, this producer, this band, and these songs, will all come together to make something good.
And I can't wait.
Hopefully we will have this done and available by late summer or early fall, depending on our pace and finances.
Have I mentioned that I can't wait to start? 'Cause I can't.
-matty sheets
Tuesday, October 5, 2010
A Farewell (sort of) to James Marshall Owen. (origins of Eating the Invaders)
Years ago (three, four, five? Time goes by so fast), I met James Marshall Owen at the Open Mic I have been hosting at the Flatiron in Greensboro, NC. I have been hosting this weekly event for eight years now. This month is actually our anniversary month, which is why I can safely say how many years that was, but not how long it has been since I met Marshall.
I feel like I've always known him now. He is easily in the top five most talented performers we have ever had roll through the doors to the Open Mic. Once he started singing and playing his guitar (exceptional guitar player- and he was twenty years old at the time. Wait. He's twenty-four now, we met when he was twenty... Ok, ok, I met him four years ago. I should start over), I knew he was one of a kind.
Four years ago we met and I wanted to play with music with him. We were just starting to get to know each other when we were in Eating the Invaders, but we quickly became friends - despite our differences (me writing silly songs with a few chords, and him thinking a diminished chord would be nice under his wicked guitar solo). Seriously though, we hit it off and ended up playing music together ever since. Hopefully that will never go away, no matter which city we live in.
After getting the name Eating the Invaders from a friend describing a spider who was eating ants that were stealing the spider's eggs, I went to Nate's Place to see one of Marshall's bands perform. I parked the scooter I was driving at the time and before I could get inside, here comes Marshall.
"Someone canceled, can you open for us?" he asked me.
"I don't have my stuff, I'm on my scooter."
"Use my stuff. We need an opener."
At the microphone for the first time at Nate's Place (and so far the only time, I think), I said- "Hello, my name is Eating the Invaders."
So now I needed a band to use the name. Along with Marshall on guitar, I recruited Barry Staples (a friend of mine who used to play drums at our house back in the Deviled Eggs days. He actually bought us our kick pedal) on drums, Gael McKeon (a new friend, he started playing with Come Hell or High Water around the same time) on upright bass, and Don Ravon (now a staple performer at Open Mic. Then, a new-comer.) on vocals with me. They were all my first picks, and I was honored and excited that they were interested.
We rehearsed for the first time on a Sunday (five songs), and played our first show the next day. Our second show was the day after that.
That band went through changes over the years, losing Gael and Don, gaining Little Mikey Roohan (Gino), Jason Voss, and the uncanny Mr. David Driveway Moore. Then after losing Little Mikey and Voss, we were a four piece at the end.
Yes, the end. We disbanded last year, this month.
I met James Marshall Owen five or six years ago, and I learned a lot from him. I can sing with others now, I can hold a vocal line where it needs to be without just going all crazy and stuff, and I've done things musically that I never knew I could do. Thanks so much for that.
By the way, Marshall is moving to Austin in two weeks.
Eating the Invaders is going to play one more time.
to be continued...
-matty sheets
Eating the Invaders in Harvey's Kitchen.
JMO's farewell show 1
JMO's farewell show 2
I feel like I've always known him now. He is easily in the top five most talented performers we have ever had roll through the doors to the Open Mic. Once he started singing and playing his guitar (exceptional guitar player- and he was twenty years old at the time. Wait. He's twenty-four now, we met when he was twenty... Ok, ok, I met him four years ago. I should start over), I knew he was one of a kind.
Four years ago we met and I wanted to play with music with him. We were just starting to get to know each other when we were in Eating the Invaders, but we quickly became friends - despite our differences (me writing silly songs with a few chords, and him thinking a diminished chord would be nice under his wicked guitar solo). Seriously though, we hit it off and ended up playing music together ever since. Hopefully that will never go away, no matter which city we live in.
After getting the name Eating the Invaders from a friend describing a spider who was eating ants that were stealing the spider's eggs, I went to Nate's Place to see one of Marshall's bands perform. I parked the scooter I was driving at the time and before I could get inside, here comes Marshall.
"Someone canceled, can you open for us?" he asked me.
"I don't have my stuff, I'm on my scooter."
"Use my stuff. We need an opener."
At the microphone for the first time at Nate's Place (and so far the only time, I think), I said- "Hello, my name is Eating the Invaders."
So now I needed a band to use the name. Along with Marshall on guitar, I recruited Barry Staples (a friend of mine who used to play drums at our house back in the Deviled Eggs days. He actually bought us our kick pedal) on drums, Gael McKeon (a new friend, he started playing with Come Hell or High Water around the same time) on upright bass, and Don Ravon (now a staple performer at Open Mic. Then, a new-comer.) on vocals with me. They were all my first picks, and I was honored and excited that they were interested.
We rehearsed for the first time on a Sunday (five songs), and played our first show the next day. Our second show was the day after that.
That band went through changes over the years, losing Gael and Don, gaining Little Mikey Roohan (Gino), Jason Voss, and the uncanny Mr. David Driveway Moore. Then after losing Little Mikey and Voss, we were a four piece at the end.
Yes, the end. We disbanded last year, this month.
I met James Marshall Owen five or six years ago, and I learned a lot from him. I can sing with others now, I can hold a vocal line where it needs to be without just going all crazy and stuff, and I've done things musically that I never knew I could do. Thanks so much for that.
By the way, Marshall is moving to Austin in two weeks.
Eating the Invaders is going to play one more time.
to be continued...
-matty sheets
Eating the Invaders in Harvey's Kitchen.
JMO's farewell show 1
JMO's farewell show 2
Tuesday, September 28, 2010
Greensboro Fest and Tate Street Festival: An Inspiring and Pleasantly Exhausting Weekend
I used to wonder why Greensboro felt like home. After moving here for four delightful years of teapots, potlucks, papers, and panel discussions at Guilford College, there was suddenly nothing to do but wait tables and . . . wait. I wasn't sure what for, but as it turned out, I was waiting for a construction tractor to run into my car on Friendly Avenue, forcing me to take leave from work so that I might pick up the dusty guitar that I'd been meaning to learn to play, spend my Tuesday nights at The Flatiron's Open Microphone (which, incidentally, is hosted by our fearless leader, Matty Sheets), write songs, and discover the incredibly supportive and welcoming community of musicians in this town, a community which continues to remind me of almost everything that I want from this life.
Between playing and listening at Greensboro Fest and Tate Street Festival this weekend, Blockheads were perpetually reminded that Greensboro is bursting at the seams with music. Thursday night at Legitimate Business in the Glenwood neighborhood, Casual Curious, Sugar High Gang, and Israel Darling (who will be joining us as we serenade Center City Park this Friday) kicked off Greensboro Fest, which proved to be a weekend packed with music at multiple venues every single night. Friday evening, we shared the stage at Lyndon Street Artworks with old and new friends from Pinche Gringo, Romancer, N'DangR Species, Holy Ghost Tent Revival, Resister, and several other bands. So many folks showed up that Lyndon Street artist, Anni Frohlich, even decided at the last minute to set up shop in the parking lot, discovering a number of new admirers for her eco-inspired collage jewelry.
Friday evening proved to be so much fun that some/most/(all?) of us had trouble rousing ourselves bright and early the next day to kick off the live music at this year's Tate Street Festival. With the help of several rounds of coffee and many familiar faces (some of you even braving the day with your very own hangovers, and we love you for it!) shining at us from the impressively chipper audience, we managed to muster all the same excitement from the night before. Have we mentioned that you guys are the best? After battling the heat onstage, we were relieved to sit back and enjoy music from the Ben Jensen Jazz Trio, The Brand New Life, Bruce Piephoff, and Braco. While Jon, Jerrod, Matty, and Harry were saving it up for performances later in the evening with the bands featuring their alternate creative identities, Little P and I were recovering from heat exhaustion . As I slowly regained my energy, Little P made fun of me for insisting upon spraying her down with sunscreen and then moving on to spray the pinkest members of the crowd near us (strangers or not), but I paid no mind, as I firmly believe that, while we do so solemnly love our critter buddies under the sea, no land mammal deserves to become a lobster simply for the love of music.
Little P proved my point when she showed up to Studio B on Saturday night thirsting for aloe vera. Nonetheless, she proved to be the same ball of energy that we love so much, ready to rock out in the front row for Funny Like a Funeral, The Lake Isle, Decoration Ghost, and Come Hell Or High Water, featuring our favorite frontwoman Suzanne Stafford as well as our very own Harrison Barrow (on piano) and Matty Sheets (on slide guitar and vocals). By this point in the weekend, we heard several folks singing the praises of Greensboro Fest organizers Mike Wallace and Sam Bridges over what a smashing hit each show had been so far. Magically, some of us managed to make it over to The Blind Tiger afterwards in time to hear even MORE Blockheads doing double duty. Jon Bohlen, upright bass player for the Blockheads, put his electric hat on while Jerrod Smith, our creative percussionist, broke out his fanciest guitar licks so that the Leeves could keep the Tate Street Festival After-party going into the wee hours of the morning Sunday.
By this point, my personal level of exhaustion had made me terrified that I might never wake up Sunday in time to be at Legitimate Business for the fourth and final night of Greensboro Fest with all the necessities: a covered dish, songs to sing, and my beloved Baby Teeth on mandolin, cello, and upright bass. We made it to the venue just in time to catch James Marshall Owen and Molly McGinn jamming in the rain under an old gas station awning next door and feed them some barbeque quinoa, which apparently mixes right nicely in the bowl with homemade vegan chili. Once we'd warmed our bellies, we gathered around to hear Liz Kraszeski and Allison Weldon (formerly of Mama Got Saved) as well as James Marshall Owen as they played acoustic sets, followed by The Baby Teeth. I even heard tell that someone from WUAG was there recording the show live for broadcast on Radio Greensboro. Hopefully they caught the entire evening, because Eszett, Secret Message Machine, Torch Runner, and The Bronzed Chorus made for a fabulous ending to an incredibly exhausting but delightfully inspiring weekend.
We were so inspired, as a matter of fact, that instead of stumbling home to bed, more than a few Blockheads managed to keep their eyes open for one last hurrah at our dear friend Suzanne's house, where we engaged in what might only be described as rowdy musical incest with members of both Come Hell Or High Water and The Baby Teeth as well as former members of Eating the Invaders. As we sang together, several of us smacked on drums and a cast-iron pan as Barry Staples held down the beat, Harry and Gael and Matty played piano with Little P on accordion and
random crocodile xylophone solos, Aren chimed in on mandolin, Suzanne broke out the rarest of her original tunes on guitar, Marshall and I passed the banjo back and forth until he fell asleep sitting up (prompting us to write what I believe might be the 79th impromptu tune in Greensboro history about Marshall's uncanny tendency to fall asleep sitting up), and I realized that, like so many of the Greensboro musicians who are part of the wonderful, supportive community that made this weekend possible, we just can't help ourselves.
Even at the end of the playing and show-going marathon, when we should be in bed, our droopy eyes and fading voices and tired, callused fingers will continue to play, with or without us. Whether we have the right equipment or the best sound guy or the perfect venue, it seems we have no choice. So thank you, Greensboro, for giving us the time and the place to do it up right this weekend. You're the best.
-emily stewart
Between playing and listening at Greensboro Fest and Tate Street Festival this weekend, Blockheads were perpetually reminded that Greensboro is bursting at the seams with music. Thursday night at Legitimate Business in the Glenwood neighborhood, Casual Curious, Sugar High Gang, and Israel Darling (who will be joining us as we serenade Center City Park this Friday) kicked off Greensboro Fest, which proved to be a weekend packed with music at multiple venues every single night. Friday evening, we shared the stage at Lyndon Street Artworks with old and new friends from Pinche Gringo, Romancer, N'DangR Species, Holy Ghost Tent Revival, Resister, and several other bands. So many folks showed up that Lyndon Street artist, Anni Frohlich, even decided at the last minute to set up shop in the parking lot, discovering a number of new admirers for her eco-inspired collage jewelry.
Friday evening proved to be so much fun that some/most/(all?) of us had trouble rousing ourselves bright and early the next day to kick off the live music at this year's Tate Street Festival. With the help of several rounds of coffee and many familiar faces (some of you even braving the day with your very own hangovers, and we love you for it!) shining at us from the impressively chipper audience, we managed to muster all the same excitement from the night before. Have we mentioned that you guys are the best? After battling the heat onstage, we were relieved to sit back and enjoy music from the Ben Jensen Jazz Trio, The Brand New Life, Bruce Piephoff, and Braco. While Jon, Jerrod, Matty, and Harry were saving it up for performances later in the evening with the bands featuring their alternate creative identities, Little P and I were recovering from heat exhaustion . As I slowly regained my energy, Little P made fun of me for insisting upon spraying her down with sunscreen and then moving on to spray the pinkest members of the crowd near us (strangers or not), but I paid no mind, as I firmly believe that, while we do so solemnly love our critter buddies under the sea, no land mammal deserves to become a lobster simply for the love of music.
Little P proved my point when she showed up to Studio B on Saturday night thirsting for aloe vera. Nonetheless, she proved to be the same ball of energy that we love so much, ready to rock out in the front row for Funny Like a Funeral, The Lake Isle, Decoration Ghost, and Come Hell Or High Water, featuring our favorite frontwoman Suzanne Stafford as well as our very own Harrison Barrow (on piano) and Matty Sheets (on slide guitar and vocals). By this point in the weekend, we heard several folks singing the praises of Greensboro Fest organizers Mike Wallace and Sam Bridges over what a smashing hit each show had been so far. Magically, some of us managed to make it over to The Blind Tiger afterwards in time to hear even MORE Blockheads doing double duty. Jon Bohlen, upright bass player for the Blockheads, put his electric hat on while Jerrod Smith, our creative percussionist, broke out his fanciest guitar licks so that the Leeves could keep the Tate Street Festival After-party going into the wee hours of the morning Sunday.
By this point, my personal level of exhaustion had made me terrified that I might never wake up Sunday in time to be at Legitimate Business for the fourth and final night of Greensboro Fest with all the necessities: a covered dish, songs to sing, and my beloved Baby Teeth on mandolin, cello, and upright bass. We made it to the venue just in time to catch James Marshall Owen and Molly McGinn jamming in the rain under an old gas station awning next door and feed them some barbeque quinoa, which apparently mixes right nicely in the bowl with homemade vegan chili. Once we'd warmed our bellies, we gathered around to hear Liz Kraszeski and Allison Weldon (formerly of Mama Got Saved) as well as James Marshall Owen as they played acoustic sets, followed by The Baby Teeth. I even heard tell that someone from WUAG was there recording the show live for broadcast on Radio Greensboro. Hopefully they caught the entire evening, because Eszett, Secret Message Machine, Torch Runner, and The Bronzed Chorus made for a fabulous ending to an incredibly exhausting but delightfully inspiring weekend.
We were so inspired, as a matter of fact, that instead of stumbling home to bed, more than a few Blockheads managed to keep their eyes open for one last hurrah at our dear friend Suzanne's house, where we engaged in what might only be described as rowdy musical incest with members of both Come Hell Or High Water and The Baby Teeth as well as former members of Eating the Invaders. As we sang together, several of us smacked on drums and a cast-iron pan as Barry Staples held down the beat, Harry and Gael and Matty played piano with Little P on accordion and
random crocodile xylophone solos, Aren chimed in on mandolin, Suzanne broke out the rarest of her original tunes on guitar, Marshall and I passed the banjo back and forth until he fell asleep sitting up (prompting us to write what I believe might be the 79th impromptu tune in Greensboro history about Marshall's uncanny tendency to fall asleep sitting up), and I realized that, like so many of the Greensboro musicians who are part of the wonderful, supportive community that made this weekend possible, we just can't help ourselves. 
Even at the end of the playing and show-going marathon, when we should be in bed, our droopy eyes and fading voices and tired, callused fingers will continue to play, with or without us. Whether we have the right equipment or the best sound guy or the perfect venue, it seems we have no choice. So thank you, Greensboro, for giving us the time and the place to do it up right this weekend. You're the best.
-emily stewart
Wednesday, September 1, 2010
notes from the road : Charleston, SC
A month or so ago, the Blockheads made their first trip to Charleston, SC to play a couple of shows. We had an outstanding time, hung out with excellent people, and played our asses off. Here are a few photographs from our five hour GPS guided drive from Greensboro to Charleston. A big thanks to Little P's folks for loaning us the van.
Little P's friends and sister live in Charleston and were very hospitable and supportive. We were put up on Danny and Joy's boathouse right near downtown. Both Danny and Joy work at The Early Bird Diner, where we had some of the best breakfast I've ever eaten. If you're in Charleston, go eat there. You won't be disappointed. Tell 'em the Blockheads send you.
Our first show was at Kudu Coffee Shop off Market St. We played on the patio, so it was horrifyingly hot, but the staff and sound man were very nice. I guess Kudu is a new place, so go check it out if your in the neighborhood. Good coffee, good food, great beer selection.
Some people came out, we had a fun time with it, and were warmed up and ready for the big show Sunday night. Local performer Laura Jane Vincent invited us to play her farewell-I'm-moving-to-Asheville, NC-show at the Tin Roof.
LV played and sang with a LOT of other Charleston musicians. It was a good time. Despite not knowing anyone, I felt the feeling of community in the room. There was lots of food, lots of hugs, lots of I-hate-goodbyes, and some tears. And quite a few drinks.
We wholeheartedly enjoyed playing the Tin Roof. We worked the patience of the sound man a bit- what with our all acoustic line up- but he worked it out and ran all thirteen channels on the board (including his talk-back microphone). We were well received, made friends, and hung out with some folks back at Danny and Joy's ship.
We came out of it a bit tighter, and with a new song called Wicket (named after our favorite of the three cats on the boathouse) about our trip. We will be performing it for the first time at our next show this Saturday at the Flatiron (we start things off at 10pm, then The Old One-Two, then The Alcazar Hotel plays their Greensboro CD release show).
Thanks, Charleston. We'll see you soon.
Check it out- Jerrod matches the couch.
-matty sheets (words and photographs)
Little P's friends and sister live in Charleston and were very hospitable and supportive. We were put up on Danny and Joy's boathouse right near downtown. Both Danny and Joy work at The Early Bird Diner, where we had some of the best breakfast I've ever eaten. If you're in Charleston, go eat there. You won't be disappointed. Tell 'em the Blockheads send you.
Our first show was at Kudu Coffee Shop off Market St. We played on the patio, so it was horrifyingly hot, but the staff and sound man were very nice. I guess Kudu is a new place, so go check it out if your in the neighborhood. Good coffee, good food, great beer selection.
Some people came out, we had a fun time with it, and were warmed up and ready for the big show Sunday night. Local performer Laura Jane Vincent invited us to play her farewell-I'm-moving-to-Asheville, NC-show at the Tin Roof.
LV played and sang with a LOT of other Charleston musicians. It was a good time. Despite not knowing anyone, I felt the feeling of community in the room. There was lots of food, lots of hugs, lots of I-hate-goodbyes, and some tears. And quite a few drinks.
We wholeheartedly enjoyed playing the Tin Roof. We worked the patience of the sound man a bit- what with our all acoustic line up- but he worked it out and ran all thirteen channels on the board (including his talk-back microphone). We were well received, made friends, and hung out with some folks back at Danny and Joy's ship.
We came out of it a bit tighter, and with a new song called Wicket (named after our favorite of the three cats on the boathouse) about our trip. We will be performing it for the first time at our next show this Saturday at the Flatiron (we start things off at 10pm, then The Old One-Two, then The Alcazar Hotel plays their Greensboro CD release show).
Thanks, Charleston. We'll see you soon.
Check it out- Jerrod matches the couch.
-matty sheets (words and photographs)
Thursday, August 26, 2010
P is for Progress.
A big Blockhead salute to our own Little P. Last night at Open Mic, she performed her first three song all original set accompanied only by her own guitar.
She's writing great songs that convey emotion bluntly and beautifully. She's singing out- loud and proud- in front of an audience of her peers, and for all of these things (and more), we'd like to recognize her talent and progress.
A big 'P' for Progress goes out to Little P for all of her hard work this week, from all of us here at Blockhead Headquarters.
-matty sheets
Subscribe to:
Comments (Atom)