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My buddy Budo has been on the road the past few years with Rhymesayers artist Grieves.  He continues to produce beautiful music and remains one of the most genuine, unique characters I know.  He and Grieves posted "Pack It Up" on Valentines Day but I think the vibe is perfect for my first Feel Good Fridays post.  Dig in.

Budo also had the chance to remix the Blueprint track "So Alive" - gorgeous.

Blueprint - So Alive - Budo Remix by rhymesayers

In an effort to commit to posting more often and to give you what you want (which in this case is guilty pleasure nostalgia) I'm launching a new weekly series called Throwback Thursdays.  

In 1985, at the age of twelve, I attended a youth convention in Indianapolis, Indiana.  While browsing my way through the expo hall I stopped to comb over the various music on display.  One booth in particular had a giant promotion for a song that claimed to be "The 1st Ever Gospel Rap".  That song was "The Bible Break" by Stephen Wiley.  It came as a cassette single - the tune on one side, the instrumental version on the other.  I paid my $5 and opened it immediately.  Inside the sleeve was a card that claimed if I memorized the entire song I was eligible for a FREE Stephen Wiley poster.  There was no accountability as all you had to do was mail in the postcard and claim your prize - but I memorized it anyway.  Still know 90% of it.  It was the sole reason that I won every Sunday School contest involving the books of the bible.  Two weeks later I proudly hung the poster (same as the cover art) on my wall.  

But you can't discuss Stephen Wiley without mentioning his biggest claim to fame, which is that he wrote the 1984 song "Basketball" for Kurtis Blow, who was at that time a seminal figure in hip-hop.  Enjoy.

Reggie Watts.  Ya heard?

We saw this cat open for Conan last year.  Some of you are already aware - those that aren't, take a peek.  I usually hate when music and comedy come together but Reggie has chops beyond chops.  Dig it.

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.

In the late 90's my buddy Bryan Phelps and I caught wind of an annual charity event in Champaign-Urbana that featured local bands masquerading for one night only.  We had heard tales of Hum covering Led Zepplin, Braid as REM - we knew this was something special.  We drove in from out of town, paid our cover and pressed up against the stage just in time to see former local Jenny Choi and her band as The Muppets - in full costume.  "Movin' Right Along", "Rainbow Connection", "The Muppet Theme" - it was phenomenal.  Later that night we saw Castor covering Nirvana, Absinthe Blind covering Michael Jackson and The Poster Children doing U2.

Fast forward to 2001 - I was a recent Champaign-Urbana transplant with my very own band, Lorenzo Goetz.  We received an invitation to play that year.  I was thrilled.  After much discussion, we decided on John Cougar Mellencamp.  Now, I don't even own any JCM records, but thinking back to riding around with my brother listening to Uh-Huh or any number of Indiana high school dances made me nostalgic for those tunes.  It worked like a charm, we opened the show that year and had the capacity crowd singing right along with us to "Pink Houses", "Cherry Bomb", et al.

The next year we tried to step it up a bit with a suggestion from bassist Eric Fisher.  We decided to tackle those ever-brawling brothers from across the pond, Oasis.  We put together a solid set (which consisted entirely of songs from What's the Story Morning Glory) including "Wonderwall", "Champagne Supernova", "Roll With It" (my personal fav) and "Don't Look Back in Anger" (which I still play today occasinally during acoustic sets).  Josh Miethe made a perfect Noel Gallagher.

In 2003 we lept forward with a legendary Sublime set.  Since we were a 4 piece (and Sublime only 3) Josh rented a dalmation dog costume from Dallas & Co. and posed as "Lou Dog" for the show.  We stuck to mostly radio singles ("Wrong Way", "Santaria", "Carress Me Down", "What I Got") which perhaps disappointed hardcore fans but, as always, it's about connecting the room.  It was electric.  It did wonders for us as a local band.

The following year we kept with the west coast, herbal theme and tackled Cypress Hill.  I loved it.  It was like fantasy camp for wanna-be rappers. I shaved my beard down to just a goatee (for the first and only time ever) and dyed it black.  The energy was fantastic - we ripped through classics like "Hits From the Bong", "Rock Superstar" and "When the Shit Goes Down" - closing with "Insane in the Brain". 

The 2005 Cover Up was pushed to January of 2006 - that year I was asked by local DJ Kosmo if we would back him up on the closing number of a Public Enemy set.  I suggested that we do the entire set together under the condition that I get to be Flava Flav.   We also recruited local great (and my long-time best bud and collaborator) Brandon T. Washington to fill the roll of the militant Chuck D.  Along with DJ Bozak (as Terminator X) we blasted the over-capacity crowd with "Fight the Power", "Shut 'Em Down", "911 is a Joke" and "Can't Truss It" (among others).  I came out on stage with a bunch of bananas, a baby bottle filled with vodka, a tiny statue and my mic.  I also had a box on stage full of crazy hats, kept changing them throughout the set.  Epic.

The following year Lorenzo Goetz had plans to cover The Flaming Lips - complete with animal costumes, confetti, fake blood - the works.  Unfortunately, we broke up and this never happened.  I spent 2007 as a spectator at the Great Cover Up and was not disappointed.  I got to see Probably Vampires destroy a set as Kid Rock, Tritone rip through Judas Priest and Elsinore brought down the house as Queen.

By late 2007 I had formed (?) my one-man band, Curb Service and event organizer Ward Gollings once again invited me to play.  So in 2008 I recruited drummer Joe Funderburk to complete the duo of The White Stripes.  We mashed up "Icky Thump", "Seven Nation Army" and "Death Letter" before closing with "Doorbell" and "Fell in Love With a Girl".  The night before the show I was home, trying to force the remains of a candle out of a glass jar with a knife........the blade crashed through the glass and right into my hand, slicing my left palm.  I couldn't believe my stupidity.  I took the stage heavily bandaged that night and managed without incident.  I have never used a knife to free candle wax since.

Also that year, I was recruited by Beat Kitchen to play the roll of Reverend Run opposite Brandon T. Washington (as Run DMC).  The band was a little under-rehearsed but BTW and I didn't miss a step blasting through "King of Rock", "Mary Mary", "You Be Illin'' and "Walk This Way".  It's so fulfilling to get to play a set so close to your heart.  I've been listening to those cats since 1982.

To complete an act of true foolishness, I also agreed to help out Elsinore that year (bringing the count to THREE sets in one week) as they covered Beck.  At first, they asked me if I could provide turntable scratches and perhaps a few samples - no problem.  But soon the duties of electric guitar, backing vocals, acoustic slide guitar and percussion were added to the list, making this one of the more involved sets for me.  In the end, it went over like we all knew it would but I vowed to never be involved in more than one set per year.   This shit is exhausting.

In 2009 I finally got to bring an idea to life that I'd had for seven years - the Pulp Fiction soundtrack.  I brought in members of the now defunct local band Temple of Low Men (save Andy Lund who lives in San Diego these days selling Taylor guitars to those who can afford them) plus horn players Mike Slagor (trumpet) and Bob Dorsey (sax).  We dressed as characters from the film, reenacted scenes and played a handful of tunes including "Miserlou" (by Dick Dale), "You Never Can Tell" (by Chuck Berry), "Girl You'll Be a Woman Soon" (Niel Diamond song covered on the soundtrack by Chicago boys Urge Overkill), "Flowers on the Wall" (by the Statler Brothers) and "Jungle Boogie" (by Kool & the Gang).  Epic.  Local music enthusiast and historian Todd Hunter called it "the most inspired Cover Up set ever".

Sometime during the late summer of 2009 I spent a night out with my three best friends in the whole world - Bryan Phelps, Josh Miethe and Brandon T. Washington.  At some point in the evening we had convinced ourselves that we should cover The Beastie Boys.  These giddy late night talks soon turned into more serious ones and before we knew it, we were piecing together a mashup medley that was designed to dazzle.  Bryan played the role of Mix Master Mike manning the turntables and handling hyping & percussion duties.  Brandon was Mike D by default (the only one of us who can play drums), Josh gladly took the role of his favorite Beastie, MCA - and I played the original nasal kid, the King Ad Rock.  As the big day approached we grew more and more excited - once again, this is an act that is VERY dear to me.  I bought their 1987 album License to Ill SEVEN times as a youth.  SEVEN.  We bounced on stage and gave it everything we had, opening with "Sure Shot" then going into a medley of "Root Down", "Shake Your Rump", "So Whatcha Want" and "Intergalactic".  Then we picked up our instruments and blazed through "No Sleep Til Brooklyn" and "Sabotage".  Pfew.  

Immediately after this set, Mike Ingram closed out the night by covering Lorenzo Goetz.  So strange and wonderful to watch and hear your own work. 

So, that brings us to 2011.  Ten years after my first appearance at The Great Cover Up and the events TWENTIETH ANNIVERSARY.  Best believe I'm gonna go big and brave.  

See you January 16th @ The Highdive.  Here's the schedule.....

SUNDAY 1/16
Mike Ingram (12:35-1:00am)
CURB SERVICE (11:55-12:20pm)
Brother Embassy (11:20-11:40pm)
Kilborn Alley (10:45-11:05pm)
Lonely Trailer (10:10-10:30pm)
Amy Mitchell (9:35-9:55pm)
Scathe (9:00-9:20pm)

TUESDAY 1/18
Roberta Sparrow (12:35-1:00am)
Withershins (11:55-12:20pm)
The Fresh Kills (11:20-11:40pm)
Tractor Kings (10:45-11:05pm)
Scurvine (10:10-10:30pm)
Vanattica (9:35-9:55pm)
Withnail (9:00-9:20pm)

THURSDAY 1/20
Kayla Brown w/ The Dirty Feathers (12:35-1:00am)
Stan & Vivian from Santah (11:55-12:20pm)
Hot Cops (11:20-11:40pm)
Jet W. Lee (10:45-11:05pm)
The Sugar Prophets (10:10-10:30pm)
To Be Announced (9:35-9:55pm)
Hathaways (9:00-9:20pm)