CURBSERVICEMUSIC.com

Well friends, for those who missed it I played the 20th Annual Great Cover Up on Sunday, January 16th.  My eleventh set in the last 10 years.  I spent quite a bit of time this year trying to decide who (or what) to send up.  In my last 3 invitations as Curb Service, I never thought to tackle this event as the one-man show - "Curb Service style".  I felt obliged to try.  

I decided late (about 3 weeks ago) to take on Jay-Z.  Probably not an artist that ranks in my Top 20, although I have tons of respect for him and I understand the broad appeal.  In fact, it was watching his 2004 documentary Fade to Black that inspired me to use different producers for what became the final Lorenzo Goetz album (The Heavy EP).  So the process began....song selection, arrangements, execution.  I put the tunes on my iPod in order to set the lyrics to memory, handpicking my favorite Hova tracks.  Once I had the set locked, I began a pretty rigorous rehearsal schedule.  I can spit a few rhymes, but I'm not a rapper.  And by that I mean--I don't rap for a living.  If you watch a true MC - someone like Brother Ali - and you study their delivery and breath control, it's astonishing.  Sean Carter is no slacker as a lyricist or a live MC.  It was a bit of a challenge, which was welcome.

Despite the "one-man-band" approach, I needed some help with this set.  An obvious choice (and opener) was "99 Problems".  It has everything - great track, lots of energy, and a police officer.  I brought in my musical life partner, Josh Miethe (we have now appeared together in 8 Cover Up sets).  He obliged - eagerly.

I'm a strong believer in the value of a medley at the Great Cover Up - more bang for your buck.  I used medleys while arranging the Cypress Hill, White Stripes, and Beastie Boys sets previously.  I felt inclined to do so again.  It didn't take me long to decide on a "I.Z.Z.O/Can I Get A..../Dirt Off Your Shoulders" combo.  It would give me a chance to set the guitar down and just try to flex a little.

"Hard Knock Life" has always been one of my favorite songs of the 1990s.  Such a feel good tune.  I wanted to enhance it by recreating a little bit of the Annie broadway flair.  I initially asked my lovely artist/writer/actress/musician fiancee, Lindsey J. Markel, to play the role of Annie.  Fate rose up against that plan as winter colds, Boston snow, and questionable timelines came into play.  No matter really, as this entire aspect of the operation was in the capable hands of my good friend Niccole Powers (co-founder of Champaign's own burlesque troupe, Carnivale Debauche).  Niccole (who will from this moment foward be referred to in this blog as simply "Powers") went above and beyond, organizing a dance ensemble, hand-sewing costumes from scratch, and putting out general fires.  The gals met the challenge head on and truly dazzled (and probably even "razzled" a bit).  Thanks to Laura, Jaimie, Stephanie, Paige, and Whitney (who also choreographed).

To close the set, I went to everyone's favorite song of 2010, "Empire State of Mind".  I heard this song when it came out--and ignored it.  Felt like just another radio hit (and I'll tell you my opinions someday on the current state of Top 40 hip-hop).  But early in 2010, we went on a whim to see a Jay-Z show.  That song brought the house down!  Gave us chills.  I understood its appeal.  It was the obvious closer.  I called on local songstress Kayla Brown to play the role of Alicia Keys.  Kayla has such a strong sense of vibe and an even stronger voice.  The pieces were in place.

The day of the event came - the usual last run-throughs, load-in, soundcheck, checklists and the bubbling anxious energy that grows with each hour.  I arrived at the club and walked in to hear the first band, Scathe (featuring my friend Joe Funderburk on drums), ripping into Clutch.  A good number of 90s hard rock fans grinning and nodding in approval.  Next up was Amy Mitchell as P!nk.  I don't know much of anything about P!nk's music, but I've known Amy a really long time and was glad to see her get an invitation.  She certainly understands what the event is all about.  Champaign vets Lonely Trailer were slated to go on next but a case of the flu caused their withdrawal.  I ducked out to the car to listen to the set "one last time" and just begin to focus a bit - so I missed almost all of Kilborn Alley's take on Merle Haggard.  I was disappointed - I know quite a bit about 70s country music.  Kicking myself for missing it, but this is no time for regrets....Brother Embassy is taking the stage.  In full costume (and a total of 13 band members) they transformed into Rick James and the Mary Jane Girls.  Brilliant.  

It was time.  I set up the gear then retreated to the green room to put on the accessories (including my 5 lb "Jesus Piece").  I gathered the troupe and thanked them for their involvement and hard work.  We bounded down the stairs and it began.  The crowd was so loud after hearing the opening sample (of Jay-Z himself) that I didn't even hear the beat kick in at first.  I had to "play a little jazz" to get things back on track - but it certainly didn't derail anything.  The room responded with feverish enthusiasm.  Afterwards, Mike Ingram (joined by Joe Funderburk, Rory Grennan, Ryan Groff and members of The Abe Froman Project) goofed on event sponsor WPGU (circa 1997).  Radio personalities, commercials, and hits from that year.  Good angle - well played.  It was the Cover Up.  It was a magical night.  Don't think I expected anything else. 

Top three photos by Jesse Folks. Bottom photo by Rachel Wadley.