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Showing posts with label The Shanty Hounds. Show all posts
Showing posts with label The Shanty Hounds. Show all posts

Tuesday, October 30, 2018

MOTM Album/CD Release Party



                                          Picture by Nataliya Pairmount

Key West: Many refer to it as America's Northern Caribbean Tropical Island in the sun. Key West also has perhaps the largest music scene per capita than any other city in the U.S. Noted Key West music photographer and author, Mr. Ralph De Palma, mentioned to me once that there are eighty-five music venues on the island. With a population of 24,649. That equates to 290 people for every music venue. That's pretty damn impressive if you ask me!

Key West emits a certain energy which stimulates the creative spot in one's brain. Over the decades we've seen countless authors, artists, songwriters, and poets do their most prolific work while living on this island. Does this creative energy rise up from the coral rock that it's based on? Perhaps it's something in the tropical breezes and trade winds that meander through the island? Could it have something to do with it being at the point where the waters of the Caribbean, The Gulf of Mexico, and the Atlantic Ocean converge? Perhaps all of the above? I apologize as I don't have an answer. Where it comes from I can not say. What I can say, unequivocally, with no doubt whatsoever, is that it does exist.

Regarding songwriters/musicians, one of the things that I noted very early on, long before I lived here, was that songwriters who live here write from a very different perspective than those who visit.

A visiting songwriter seems to mostly write about the “going to a Key West experience”. This is not a criticism, but rather an observation. After all, when someone lives in say, Peoria, the excitement of going to Key West for a week, or two is pretty fantastic! That can be pretty inspiring! I don't know how many songs are written about driving through the Keys, often miss-naming US1, calling it A1A, with Key West as the destination. Or a song about the crazy, possibly compromising situations some have found their selves in while visiting. Perhaps a tune about just a day sitting on the beach at Ft. Zachary Taylor. These experiences, and others that drew from the inspiration to produce songs that carry both the author and listener through their lives in the other fifty, or fifty-one weeks of the year, somewhere back on the mainland where they are from, which could be anywhere from Florida to Alaska. What this is, is escapism.



The local songwriter is different than that, however. It should be noted that most songwriters in Key West went through the aforementioned phase. Most songwriters in Key West are at best “Fresh Water Conchs”, people who weren't born here, but have lived here at least seven years. Those born in the Keys are “Conchs”.

Local songwriters breathe the air, feel the pulse of the island, and sense that the breeze has shifted and know to duck for cover before the squall brashly blows in with its half hour of wind, hard rain, and vengeance. They recognize the energy of the island even though they may not know where it emits from. Some things are best kept a mystery. They feel these energies 24/7/365, year after year. These folks are not here for a few days or a week. This is their way of life. So, they're not writing about escapism, they are writing about their daily life in the islands.

Believe me, and feel free to ask anyone who lives here who came from the mainland:

Living here 24/7/365 is a lot different than coming on vacation.

Living here 24/7/365 one becomes part of that energy. Additionally, the songwriter goes from being on vacation in Key West to living day-to-day. Listen to Michael McCloud's “Pool Shooting Woman”, or the Survivors “En Cayo Hueso”

Before I lived here, I wanted to live here. The planets, however, weren't aligned properly until May of 2008. Up to that point, I was not a tourist, but a visitor. Consequently, when I did move here I had a head start on Key West. I was attracted to the things that weren't so superficial. I searched out the local color and I started writing music about it. Though it takes time, the energy came through as well! However, I'd say I was here for over a year before I could actually say I was part of the island. To feel it and the pulse and the rhythm of the vibe.

My partner in life, Dani Hoy, will have her five-year anniversary in Key West next month and our band, The Shanty Hounds, is now over four years old! We have come out with our first collaboration album “The Shanty Hounds – Unleashed! Live at Grunts, Key West” This album captures both the escapism and the local feel, all with the energy that Key West somehow produces on its own!

Plus! We are having a CD Release party!

THURSDAY, NOVEMBER 1st at Grunts Bar, 409 Caroline St, Key West 8 pm – 11 pm! 

                                           Grunts Bar 409 Caroline St.
                                 

                                          Garbo's  also on location at 409 Caroline St!


“Unleashed” captures the magic of Key West's creative energy. The songs on "Unleashed!"that you will already know, have an entirely different feel than on the studio recordings, so it stands on its own. Dani's voice comes through like you've never heard it before, bright and powerful! Additionally, we have three brand new songs released here, “Yippie Cayo Hueso”, “Liveaboard”, and “Tote The Load”! The album also features bassist Bob Tucker and drummer John Sausser, who will both be at the release party as well!

                                         Picture by Ralph De Palma


Giving credit where credit is due, the quality of the recording sets a new standard for an album recorded in a bar. The credit here goes to our engineer and producer, Ian Shaw, who will be at the release party as well, plus Denis Blackham, who did the mastering up in The Isle of Skye, Scotland, UK. Denis has also worked with Eric Clapton, Phil Collins, Crosby Stills Nash, and Young, Bryan Eno, David Burn, Pete Townsend, Led Zepplin... So it goes without saying that we are eternally grateful that he took on The Shanty Hound's "Unleashed!" project! He also mentioned that he loved the energy!

It's the energy of the island!

We hope to see you there!



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Saturday, December 30, 2017

Key West - The Sunday Ramble!



One of the things that always impressed me prior to moving to Key West nearly ten years ago, was that the local musicians were of the highest quality. I recall for years when I visited being in awe of how good everyone was!

Growing up outside of NYC, then later living in Boston, I was exposed to the absolute finest that could be found anywhere. I recall visiting Key West on St. Patrick's day 1980. The band playing that night at Sloppy Joe's was fabulous and that set the stage, so to speak, for my impression of music in Key West. Key West could hold it's own.

I moved to Key West in May of 2008. I had a good thing going in Miami before that. In 2000 I was picked up by McClure and Trowbridge Publishing in Nashville! That was a thrill.

I also had a solo/duo acoustic thing, plus I had a five to seven piece electric band from 2000 – 2008.

Moving to Key West was interesting. I didn't know one person here. Trust me, getting gigs isn't easy when you don't know anyone.

In 2010 BMI invited me to play the Key West Songwriter's Festival. This goes back to me being published in Nashville with McClure and Trowbridge, which in 2010 I had been with for ten years.

For those who are unfamiliar, The Key West Songwriters Festival is the largest music festival of it's kind in the entire world. Charlie Bauer and Danielle Strampello Holiday of Smokin' Tuna, handle the Key West end of it, while BMI Nashville takes care of everything else. Last year the festival had something like 230 songwriters in the event.

I am truly honored to have been in the event every year since! Thank you BMI, Thank you McClure and Trowbridge Publishing, and Thank you Smokin' Tuna.

When Dani arrived here four years ago this week, we started gigging together. At first, I'd do my thing, then she's get up and do her's. A friend of ours, David “Reddawg” Solinsky told us “Lets start a band!”. Making a long story short, we did. That was in August of 2014. We called ourselves “The Shanty Hounds” because the house we live in, we call “The Conch Rock Shanty”, plus, we have two whippets, hence, the hounds part of the name.

We've had a great run that is constantly evolving and hopefully, improving! We're having the time of our lives!

We were invited to play a special event, “The Sunday Ramble” for New Year's Eve. This is a great great honor, as they are quite particular as to whom they invite to play the event! In addition to us, there will also be featuring Terry Cassidy, Gary Hempsey, and Terry Wetmore, which indicates the caliber we're talking about!

We'll be doing some of our original songs backed up by The Ramble Band, which consists of Ericson Holt, Jeff Clark, Claire Finley, Robyn Whitehead, Randy Morrow, Michelle Dravis, and Joe Rayhill

These folks are just incredible! We did one rehearsal with them last Wednesday and I can't wait to play with them again!

The event will be held at The Key West Theater, 512 Eaton St. Key West. Doors open at 8 and the event itself runs 9pm – 12:30am.

Dani Hoy and I are so honored and humbled to be recognized and invited to play this incredible event!


Thank you to all who invited us and to those who encouraged for us to be in the event!

And the biggest thanks to all who have supported us, both friends and establishments!!!

So swing by, if you're in town!!! It will be a fabulous New Years!









Wednesday, December 13, 2017

Happy Merry Christmas From Key West

Happy Merry Christmas From Key West



Happy Merry Christmas From Key West was written in 2015 by Dani Hoy, Bobby DeVito, and Key West Chris Rehm,

Everyone wrote the lyrics for their own verse in the song and likewise sang their own verse.

Chris wrote the chords and melody for the verses and Dani and Chris together wrote the bridge.

The final verse was sung by Dani and Chris together.



The recording was made at The Conch Rock Shanty, on Thomas St in Key West. It was a complete Key West party atmosphere, with a cast of Key West characters including Schmegly and our dogs, Cajun and Tooloulou all whooping it up in the background.



This little ditty is designed to make you feel good, smile, and.... laugh! If you're not here, but love Key West, step into an authentic Key West party, from Key West and soak in the spirit! Have some fun vicariously with us, for a three-minute romp into a typical Key West party in paradise!

The song was recorded and produced by Chris Rehm, Dani Hoy, and Bobby DeVito, Key West.

Mastered by Dan Simpson, Private Ear Studios, Key West.

At $.99 it blows those $5 stores on Duval into the weeds!

To purchase “Happy Merry Christmas From Key West” Click here!!!






HAPPY MERRY CHRISTMAS FROM KEY WEST


I (KW Chris)
C
HAPPY MERRY CHRISTMAS FROM KEY WEST
G
HAVE A HAPPY HOLLY JOLLY NEW YEAR

HAPPY HANUKKAH TO ALL OF OUR HEBREW FRIENDS
C
YOU KNOW IT'S THAT HOLLIDAY TIME OF YEAR

II (Dani Hoy)
C
THINGS ARE MIGHTY FINE HERE IN KEY WEST
G
TEMPERTURES AROUND 72

SNOWMAN MADE OF SAND

UMBRELLA DRINKS IN HAND
C
EVERYONE IS TAN AND NOT BLUE


Bridge (Chris and Dani)

F C
WE GOT MISTLETOE BUT WE AIN'T GOT SNOW
G C C7
ICECUBES DISOLVE IN OUR COCKTAILS
F
WE DECORATE OUR BIKES,
C A7
RIDE AROUND AT NIGHT
D7 G
AFTER A SUNSET SAIL






III (Bobby D)


WE'RE HAVING BEER AND OYSTERS HERE IN KEY WEST

HAPPY HAVING ALL OUR FRIENDS AROUND

THE ISLAND BOATS ALIGHT

AGLOW IN CHRISTMAS LIGHTS

EVERYWHERE GOOD CHEER IS FOUND


(Guitar solo, Bobby D!)



Bridge (Chris and Dani)

WE GOT MISTLETOE BUT WE AIN'T GOT SNOW

ICECUBES DISOLVE IN OUR COCKTAILS

WE DECORATE OUR BIKES,

RIDE AROUND AT NIGHT

AFTER A SUNSET SAIL


IV

SO HAPPY MERRY CHRISTMAS FROM KEY WEST

HAVE A HAPPY HOPPY HOLLY JOLLY NEW YEAR

HAPPY HANUKKAH TO ALL OF OUR HEBREW FRIENDS

YOU KNOW IT'S THAT HOLLIDAY TIME OF YEAR

YOU KNOW IT'S THAT HOLIDAY TIME OF YEAR
Bb6/9 C
IT'S THAT HOLIDAAAAAAAAAAAAY TIME OF YEAR!!!!


© 2015 By Christopher R. Rehm, Danielle Hoy, and Robert R. DeVito BMI

Live video recorded on December 10, 2017 at Two Friends Restaurant, Key West



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Thank you for reading my blog! Please check out my book "Time Traveler - The Oddities and Adventures of a Key West Bartender". Follow Mark Straight's continuing journies and friendships from current Key West, back to historical Key West and elsewhere!

 Order paperback or download here! Paperback comes with a free download!


















Friday, July 14, 2017

Getting By With A Lot Of Help From Our Friends! - The Shanty Hounds record a live album!

Getting By With A LOT of Help From Our Friends!


The Shanty Hounds Record A Live Album!




On July 13th, 2017 The Shanty Hounds descended on their two years “Home Gig” at Grunts and recorded a live album.

This was by no means an easy undertaking, yet so many made everything go smoothly!

This was an idea that Dani Hoy and I had kicked around a bit, however, make no mistake about it, Dani was the one who got the ball rolling. Thank you, Dani Hoy!!!

                                  Picture by Ralph DePalma

Dani started a Kickstarter campaign a few months back and, a week or so before the gig, the goal was reached! While Dani is to be commended for starting the Kickstarter, it was all those who contributed who made this possible. Thank you, Kickstarter contributors!!!! 

                            Photo by Ralph DePalma

Shortly before the Kickstarter was started, we talked to producer Ian Shaw. Ian is a world class producer who moved to Key West around five years ago. He bounces back and forth between Key West and his hometown, London, where he's produced every kind of record you can imagine over the last thirty-something years. I've been working with Ian for a while on my solo album, “Jump Into De FiYa!!!!”, plus, Dani recorded her vocals on her latest release “At The End Of A Long Road”, so going with Ian was a natural. We had to speak with Ian first to get a better idea of what we were looking at monetarily before we started the Kickstarter. Ian gave us an estimate and we were off to the races! Thank you, Ian!

(a minor note regarding Ian's experience: We started a song and were about four bars into it when Ian stops us and says "Dani, your B string is out of tune" Not "Something is out of tune" Or "Dani's guitar is out of tune" No, out of two guitars and a bass playing, along with a set of drums, Ian has picked out the individual string out of the entire cacophony of notes, singing, and bashing, just four bars into it. That's just flat out incredible. Totally amazing! I asked him about it later and he said "Oh, it just comes from doing it for so long, that's all")

                                            Ian Shaw - Picture by Chris Rehm

At Grunts for the last year, Bob Tucker has been joining us. For this recording, we brought drummer John Sausser in. John had played with us in our first year, so it was only fitting that he should be the drummer for the recording. John started playing with us every Thursday at Grunts, so we could get the feel of playing with each other. Again, Dani is the heroine, as she paid John out of her own pocket for these gigs!

                            Bob Tucker - Photo by Steve Craigo

                           John Sausser - Photo by Steve Craigo

Next, in stepped Marc Hollander! Mark is the Vice-President of the Southernmost Coconut Castaways, and he also works for Keyboard Specialties. My bar, The Cork and Stogie, has worked with Mark for years, and the Shanty Hounds also have worked with him as well. Marc kicked in and had these commemorative cups made specifically for the event! Thank you, Marc!

In a most endearing and touching gesture, our friends Susan and Mo Sacirbey actually postponed their trip to the northeast by a week, just so they could be at the recording gig! How cool is that? WOW! Thank You, Susan and Mo!

                                       Susan Sacirbey with CR

Gary Ek, of radio station 104.9 The X radio station here in Key West, offered to broadcast the gig live! After a bit of chatting, we called Danny Lynn of Tiki Man Radio up in Tennessee and he also took the feed! I spoke with Eric Babin of Radio Trop Rock, who was on the road but had a laptop go down the day before, which prevented him from carrying the show. “Aww crap!” Was his first reaction. Thank you, Gary, Thank you Danny, and also Thank You, Eric, as you were there in spirit!




Grunts took us on over two years ago. Grunts is a conch house built in 1890. It was purchased over thirty years ago by the current owner, who turned it into a bar. The owner once told me “I grew up here and I saw all of the local Key West bars dying off. I started this bar with the intent of keeping the local Key West bar tradition.” The owner, whom I will not state his name as he is a private man, has gone head over heels for us. He has done things that other owners or managers would never dream of doing. He knows what I'm talking about and that's all that matters. Thank you SO much Grunts Bar! We love you!!




Natalie Konysheva, is first and foremost, a dear friend. Long after we became friends with her and her husband Alan Pairmount, I noticed that she took phenomenal photographs on Facebook. When I inquired with her about it, she told me that she had been a professional photographer up in New York City, where she also went to school for photography. After that, Natalie took the picture for the cover of my book “Bar Stories” at The Cork and Stogie! Additionally, she and I are working on a book together, “The Absolute Best Bars in the Florida Keys”. Natalie stopped by and took a lot of photographs at the gig for us. Thank you, Natalie!

                                           Natalie and Alan

Then, there was everyone who showed up! Man! The place was busting at the seams! I won't name those who stopped by, only because I will inevitably forget some and, I don't want to hurt anyone's feelings. Some came from as far away as Texas, others sailed in from the Bahamas. One regular couple whom we love dearly was in Iceland, but the husband sent his sister and her husband to the gig, as they were staying at their house here in Key West! Then, there was our local core of friends! These folks are authors, artists, entrepreneurs, teachers, fellow musicians, office workers, retirees, nurses, jewelers, office workers, hotel workers, photographers, art salesmen, the list goes on and on. They show up all over town where we play and support out the wazoo! I think every one of these folks showed up at the recording gig! Just wait until you hear them all singing along on the chorus of “Yippee Cayo Hueso”!!! Truly amazing!!! 





Ralph DePalma, the famous music photographer of musicians, as well as the author of the series of books on Keys musicians, The Soul of Key West,  was kind enough to swing by and take pictures! He posted on Facebook and I borrowed a couple for this blog! Thank you for everything, Ralph!!!

To all of our friends, Thank you!!!

As for the recording, it went very well! Our plan was to use original songs by Dani and myself. There were a couple of exceptions. we'll see what happens after we listen to what we have.

There were so many highs to last evening, it's impossible to pinpoint one that stood out above the others. Our great friend Steve Craigo, an individual who goes about Key West every day in search of hearing great music, told me today “I think last night was the best music I've heard since I moved here.” Wow. I'm floored.


Like I said:

We Get By With A LOT Of Help From Our Friends!!!

I will keep you all posted on both progress and the release.

Also, we will be having a contest for naming the album!




Again, I can't say it enough.... Thank you very much!!!!!!!







Sunday, April 9, 2017

Songwriter's Largely Unknown Benefits Part 1






The prediction that I'm going to make is actually pretty astounding really. Here goes, the vast amount of songwriters out there, most likely don't realize their value. Most of us love and live for songwriting. There's nothing like the feeling when a song is starting to flow and the process is all coming together. Everything is making sense and all the bricks are falling into place. Other times, it's a more tedious process that may take days, weeks, or months to write and make an arrangement out of. The end product of both is the same, however. When it comes together you have a feeling of satisfaction and achievement.

Of course, this has no monetary value. It's not as though the song is going to the top of the charts, or even on the charts, for that matter. The reality is that there is little chance, if any, that you'll have someone like say, Kenny Chesney, walk through the door where you're playing and say”WOW! I love that song! I would love to record it!” Then six months later it's out on the airwaves and on it's way to selling two million copies, on top of getting played on radio stations coast to coast every ten seconds.

I recall my publisher, McClure and Trowbridge Publishing Nashville, telling me he had signed a writer who had a hit song he co-wrote with three other writers, and with the royalties he earned, built himself a house outside of Nashville!

I have a song, “Yeah, A Harbor” that virtually every time I play it, people come up to me and say things like “I feel like I'm seeing a movie of life on a harbor when I hear that song!”, or “That song paints such a vivid picture”. It's one of those songs that motivates people to go out of their way and say something to me about it. People that I don't know and they don't travel in the music circles I frequent, will by fate alone, be at a gig I'm playing here in Key West. Maybe they're off a cruise ship? Maybe they're in town for the weekend looking for nothing else, other than to be a Duval Street renegade, or maybe they're here looking to go out on a fishing trip. Who knows? They may come from all walks of life, a teacher, an insurance executive, a student, a sports professional. you name it. However, these people, men, and women alike have gone out of their way to compliment me on the song.

What will I really get out of it? Well, most writers will get the first step of what I get, which would be maybe, a five dollar tip in the bucket. But what's after that?

Well, BMI, ASCAP, and SESAC, the three performing rights organizations in the US, can come into play after this.

In this case, BMI, ASCAP, and SESAC license bars, restaurants, and concert venues to be able to play music they license. They also cover radio, tv, commercials, and the like, however for this blog, we'll focus on live music.



As far as I go, I've been a BMI writer for seventeen years, the same amount of time I've been published. At the time, McClure and Trowbridge Publishing set me up with BMI when I became one of their writers. So, I'll be using BMI as the example henceforth as I have no experience with ASCAP or SESAC. Having said that, ASCAP and SESAC have similar programs.

With what I do playing in Key West, the music scene here caters mostly to tourism. Therefore, we're not so much highlighting our own music, per say. The clientele wants to hear songs they are acquainted with. They're not looking for original music. So, what we do is play some great covers, then sneak in an original.

What happens in this situation is the audience creates a bond with you on those first songs. Again, this is a tourist town bar, in Key West, not a coffee house in Greenwich Village. When in Rome... Myself, I never pre-announce a song to be original. I'll wait until I'm done and gauge the crowd's reaction to the original. I learned this through the school of hard knocks.

What would happen would be I'd get to my second song and say Hey! Here's an original I think you'll like” at which point ¾ of the crowd call for their checks! They hadn't even heard the song yet. What they heard was there was an original song on the way and their experience with originals was that they were just downright awful.

In feeling their pain, as I've likewise heard performers doing originals that were nothing above sludge. I also learned quickly not to announce an original until after it was over, and then only if there was a good reaction to it. Often, when they heard something they liked, they'd ask for more.


Consequently, over an evening I might get in ten originals or more.






What happens is, after the gig is over I'll list my gig songs with BMI.(I can also list covers if I want) BMI pays quarterly and after logging in my songs that I play at my gigs, I can expect a check from BMI for between $75 and $125, or so, depending on how many gigs and songs of my own I play over the quarter.

As a BMI writer, I only know how their system works. If you are an ASCAP or SESAC writer, contact their offices to find how to operate their procedure. He's BMI's in a nutshell:


With BMI, log in, then go to “BMI live”.

Click the blue box that says “Performances”

There will then be the events drop down box. For regular gigs pick “Concerts”

From there it will walk you through asking venue, date, and it will also give you your catalog of songs to chose that you played on that given date.

Every gig must be listed individually.

BMI pays quarterly.

BMI also has an app for smartphones. A great idea, as this way you can do them right after you finish your gig.


So, let's say over a year I make $400. Is that going to be setting the world on fire? Hardly. However, it's part of being a professional and for me, $400 is a heck of a lot better than what well over 90% of other songwriters are not getting because they simply don't file for it. You have to make the effort, with BMI, they have over 750,000 writers. They can't baby sit us, however, they do supply the tools for us to be a part of their system and get paid.

In 2015 BMI alone collected $1.03Billion and distributed $877M to it's writers.

The vast majority of songwriters are with either BMI, ASCAP, or SESAC. If you are not and consider yourself a songwriter, this is a first step in becoming a professional. Look at all three and see which one is best for you.

As for myself, I'm very happy with BMI. Through being a member, BMI has entered me into the Key West Songwriter's Festival for the last seven years. While this may sound like a colloquial event, it's actually a joint venture between Smokin' Tuna Saloon here in Key West and BMI Nashville. As of 2017, The Key West Songwriter's Festival is the largest songwriting festival in the world. This year, there are expected to be over 230 songwriters here in the event, plus who knows how many playing independent events? However, It was my publisher, McClure and Trowbridge Publishing Nashville, and BMI who got me into this incredible event, to begin with. There's also an incredible staff based here in Key West helping to organize the event. However, I say that only to point out that the performance rights organizations are great to have in your corner,

One note here. I understand fully venues such as bars and restaurants requiring licenses. At least in BMI's case, there is a provision for house concerts. At the house concerts that I have performed at, 100% of the door is given to the musicians. I strongly suggest that songwriters do not report house concert venues. Most are not licensed, however, unlike a bar or a restaurant where they are also making money on food and beverages, by and large, house concerts are largely private and a work of love for the music. In situations like this, I strongly discourage reporting songs you do at these events. I have heard of house concerts having heard from attorneys from ASCAP as the house concerts are reported for royalties and not licensed. 

We'll cover more on the performance rights in the next blog, but for the moment I've just shown you how to put some money in your pocket by just doing what you're already doing, playing your own music.

Feedback is welcome!


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Wednesday, November 30, 2016

LIVE MUSIC!!!


                                           Live Music



As a musician, I approach live music from a particular perspective, and I'm not ashamed to admit that I feel it is the most authentic way to do so.

To set the stage, I recall many years ago, I went to a concert at a large concert venue in western Broward County, Florida. Broward County is where Ft. Lauderdale is located and I had been living in Miami/Dade county, the next county south.

I was leaving the event, and there was quite a crowd filing out. Candidly, though everything was moving, it was packed. There was a couple of people directly behind me raving about the performance. I was frankly, quite disappointed with it actually, and had these two behind me talking about how much they liked it. Well, everyone is different, but I felt otherwise, while respecting their enjoyment, which was foaming at the mouth happy.

Then one of them said something that highlighted the difference from what I felt, and what they did. What they said was “That was just fantastic! It was just like the record!”. At this point, I had to say something. I turned around and said politely “That was exactly why I was so disappointed with the performance. I could have saved myself an hour's drive and the price of admission, listened to it at home, and heard the exact same thing. Tonight was a sterile performance. It was a complete canned concert”.

I think the people were a bit taken back by my statement, as they were pretty quiet after that. However, when we got to the main door at the exit, one of them tapped me on the shoulder, smiled and said “Thanks. Good night”.

You see, from my perspective, live music has the opportunity to really be a living organism.

Playing music live, is an entirely different animal that what we do in a studio. In a studio you can do one hundred retakes, Or, the engineer can edit out certain things and add others. On the studio recording, you can also add all sorts of different instruments to a track, plus additional vocals, to the point that if you had all the instruments on stage, it would be the size of the New York Philharmonic. On my song “The Beach!!!!” for instance, we actually have over seventy tracks!

Now, I'm not being critical of studio albums. Not at all. I'm just saying it's a different art.

When playing live, you're can be flying without a net.

Because of this, you will find some musical acts elect to do the exact copy of the record, in live performances. It's a safe route. Additionally, some will change the arrangements for the live tour. However, if you were to follow the tour, you'll find the exact same show, note for note, song for song, night after night. Some actually do it that way year after year. It's a safe comfort zone.

For many, that's acceptable. Hearing a live gig, even if it's canned, as the two above scenarios, is good, especially if it's pumping out of a high grade, 100,000 Watt sound system. Compare that to their computer's two inch speakers at home!

                                         The Grateful Dead

With us, we play in Key West bars, for the most part. Currently we have the original Bose L1 tower system. It certainly gets the job done very well, however it's around ten years old, so we may need a new system before long.


As far as the music goes, we don't go for the “safe” formula. Doing it that was would be the sterile formula. We prefer the flying the trapeze without a net! With The Shanty Hounds it's a seat of the pants affair. That way every performance takes both ourselves and every one there, on a unique voyage.


Having said that, all of our songs have their own individual structure, which to a degree, doesn't change. For instance, lets say we do the song “Landslide”, written by Stevie Nicks. We start it off the same way all the time and the verses all follow suit. When it gets to the solo, I'll start it off with the same two notes, which gives the solo definition. After that, the feeling of the solo remains true, however who the hell knows what notes will follow? I honestly don't have a clue until I'm playing it.


On another vain, Dani's song “I like it Hot”, has an entirely new intro to the song that we added this year. My lead guitar lines are nothing like the saxophone lines on the recorded version. Her vocal verses, are the same arrangement, however on my first solo, we have nothing set as far as how long it will go for. One night it might go for ten progressions (they're short progressions), the next night it might go fifteen. The theme of the solo always carries the same idea, but who knows where it will pop up, of what will be in between? The end of the song is the same idea.


We also cover J.J. Cale's song “Magnolia”. We have an extended solo in it, which usually carries a few different recognizable themes through it, but again, who knows where, or if they'll be, in addition to having any clue whatsoever what else will happen in there? A new part could easily be invented at the spur of the moment.... and often is!

On the other hand, we have a song like my newest, “Yeah, A Harbor”, which is played pretty much the same every time, structure wise. There is no instrumental section where improvisation can take place.



The Set List



What's a set list? We have a song list on Dani's iPad, but that's just a listing of songs we play. A common issue with musicians is not being able to remember what songs to play. I fall into that category. How many times over the years have I seen a solo musician with a song list taped to the upside of their guitar? Bands who do set lists, and always use the same set list, don't have this problem, For them it's always the same. They start off with song “AAA”, then go to song “BBB”, then to “CCC” . It's a routine, so there's never an issue.

However, as I say, our modus oparandi has us up on the high-wire, without a net. That's how we like it! We'll pick one of maybe four different songs to start the gig, but after that it's a matter of “Riding the Gig”. It's a matter of getting the right vibe between us, the crowd, and the venue.



The Shanty Hounds wear a lot of different hats. One song is Rock, the next, is Country, the next is jam band, the next Western Swing, following that something from the island, then a funky number like Yellow Moon. Limiting ourselves to one particular style is not what we do. We like variety!

Listen to Dani's or my albums and you'll find our original music is all over the place genre wise. All of this gets incorporated across the board to our covers as well.

Does it always work?

No.

Having said that, both ourselves, and the crowd we attract, thrive off of the human element of it all!

Like I say, the live gig can either be canned affair, or it can be a living organism.


                                               The Shanty Hounds at Grunts Bar, Key West



We prefer the living organism, and riding the high wire without a net!

IT'S ALIVE!!!!

It's the only way to fly! :-) 










Shanty Hounds Facebook page: https://www.facebook.com/ShantyHounds/ 

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Thank you for reading my blog!!!! 

Key West Chris Rehm

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Bar Stories! A bit of adventure, a hint of mystery, some gray matter stimulation, laced with travel, and peppered with humor throughout! Take a unique trip with this Trop Rock musician through bars and the unique, odd, and funny goings on in them! Take a trip from Key West to London to Cape Cod, to Miami and more! So grab a libation and join the author on this wild ride! Seventeen 5-Star Ratings!




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