Tuesday, January 17, 2012

1.17.2012, FTW

The li'l Stoogeband had a better-than-average show at the Cowtown Bowling Palace in River Oaks last Saturday night. It's a surprisingly good sounding room (we borrowed Pablo & the Hemphill 7's PA), we had a decent crowd (some of which we lost by taking a too-long break between sets, something I'd forgotten about since our aborted residency at the late Black Dog Tavern back in 2006, but we thankfully gained a few newbs for the second set), only alienated a few of the regs, and got the payout we were promised before Tyler Stevens had to split to go see her better half jammin' out with Confusatron at the Wherehouse.

The presence of two off-duty River Oaks police officers made some folks antsy, but they were just there getting paid like we were (the place is open 24 hours and they don't want to get jacked, I reckon) and were congenial enough, although I don't imagine they really dug our jams. Only non-snazz aspect was the inability of Rat and Calvin from the Asian Media Crew to rent bowling shoes (Rat thinks "They don't have Asian size").

Hembree opined that our unfamiliarity with our surroundings probably caused us to be more attentive than usual to what we were doing, despite the fact that 80% of the band was under the weather (Richard was "only mentally ill") and I had the worst onstage headache of my life -- a blinding skull-splitter -- throughout the second set. Teague did point out, however, that all of us started "TV Eye" on different beats -- "I was waiting to hear two people who were together so I could join them, but it never happened" -- which the audience, thankfully, didn't seem to notice or care about.

At the end of the night, I think the Stoogeaphiles were collectively happier than I've ever seen us after a show. We'd do it again. Next: the Wherehouse on 2.11 with the Mike Haskins Experience, Fungi Girls, and Doom Ghost, a dream show of sorts for your humble chronicler o' events.

Currently reading George E. Lewis' A Power Stronger Than Itself: The AACM and American Experimental Music, a scholarly tome by one who was there that explores musical developments in the context of frequently ignored racial, economic, and gender issues, and invites the reader to rethink conventional critical wisdom in the same way as Joe Carducci's Rock and the Pop Narcotic or Allen Lowe's volumes of historiography.


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