An important new year’s resolution for me this year is to play more music. We started things right with a session on January 2nd. Rhine came into town for a day. Clark popped by for some music. Our best audience was lulled to sleep.
Playing in the living room.
We had some Scot Toddy’s in Romey’s xmas cups and kept the bar open late.
The stadium in Campiglia Cervo is scaled to match the interstate highway system that blazes through the center of town. We packed the stadium to the gills with what I am told was 65 people, including the vice mayor who introduced us, but not including the mayor himself who had more important things to do like look at himself in the mirror. Just so you know, this was a much bigger show than the show Metallica put on at the same stadium!
The show was actually very good. Intimate. Interesting. Tight. During the rest of our time in Rialmosso we ran into lots of people who either attended or heard through the grapevine about our performance. That was both really cool and very gratifying.
The road crew set the stage after arriving the day before to check electricity levels and make sure all of the seating was available. We have nothing but admiration for our intrepid road crew. They work so hard so we can do what we do.
The show consisted of three parts as shown on the billboard above.
Here is a stage floor view of the set list for those of you collecting bootlegs.
And a view of the nosebleed seating in the back before anyone was in the house. You can see the dancing props professionally built by our dedicated construction crew.
Publicity was run by our crack PR team who were able to put up a poster with the last of the tape.
Fortunately that poster was all it took to fill the space to the gills. When we started (only 5 minutes late), people were standing because the seating was gone. Even the reserved section for mastiffs and toddlers was full.
We sincerely appreciate the willingness of the locals in the area to support our art with enthusiasm and love!
The stage is set. The weather is perfect.
And we’re off. Sogol and Matt play Bach together.
Dancing to Vivaldi Concerto in G major for Two Mandolins, Strings and Continuo, RV 532 (re-re-arranged for violin, guitar and piano).
I first met Hiroya when he opened a sold out show for the Bitter Liberals in January 2018. We were frankly honored to have Hiro open for us. He was outstanding both in terms of technique and showmanship.
Hiro’s music tells a layered story soaked with emotional significance. Here are some pictures and videos from a recent show at the Barns of Rose Hill in Berryville, VA 10.19.18.
The most remarkable piece of the evening was an improvisation that Hiro put together during the second set. Influences of Eno, Fripp, Japan, and banjo are all evident and are masterfully woven into a beautiful piece.
Gemini Bridge is a core piece of Hiro repertoire. If you like how this sounds, you should buy a copy of the CD Heartland.
Hiro plays one guitar with a set of electronics used for balancing and layering with a sampler. He is a master of his technology (more than can be said for most musicians), and his use of sampling is both subtle and seamless. Masterful.
This song about fire was inspired by peaceful campfires with family in Japan.
I am always in awe of musicians who perform and tour full time and are not associated with a huge corporate act with a small support army. Make sure to go see Hiroya play if you ever get a chance.
We will be releasing our eighth CD the day of the show. Art by Eli McGraw. Music by Rhine Singleton and Gary McGraw. At the show, we’ll be playing all of the songs from the new CD plus some of your favorite Where’s Aubrey tunes.
We will be joined on stage by Allen Kitselman and Nick Schrenk of the Bitter Liberals.
On a day that started with a very early drive by the frozen Shenandoah River, we headed to National Media Services to record an all new Where’s Aubrey CD. The songs were written in India, worked over in Italy, recombobulated in New Hampshire over several days, performed live in Virginia and were finally ready for the crucible that is the studio.
Will Shenk and Rhine Singleton prepping
Rhine Singleton of Where’s Aubrey
Will Shenk, the master sound engineer was once again a joy to work with.
Will Shenk setting up Gary McGraw
Just a few mics for this session. Gary McGraw of Where’s Aubrey/
The highlight of the day was the addition of James Muschler of Moon Hooch on the tabla. Just wow. So much fun to play with James!
James Muschler of Moon Hooch records with Where’s Aubrey
Now comes the engineering, which will take several weeks. And then a brand new CD!