TERRASTOCK FESTIVAL
@ The Showbox Theatre, Seattle
November 3-5

By RON SANCHEZ of
Donovan's Brain

Even if we weren’t playing the Seattle Terrastock (T4), I would have been going none the less. Any excuse to get out and visit our friends in the Jet City is not to be missed. I’d been to the previous two events in London and San Francisco, and had nothing less than a fabulous time. Terrastock is the work of Phil McMullen, editor of the very important and influential fanzine the Ptolmemaic Terrascope. Phil works with local promoters to make this seemingly impossible event occur.

T4 was booked for November 3-5 at the Showbox, in downtown Seattle. The Showbox is an old ballroom, with some of the flavor of the Fillmore and Fillmore West. There is a main stage, and a smaller second stage, so the music is nearly nonstop. The venue also sports two well stocked bars, an important feature lacking at T2 in San Francisco.

These sorts of festivals are becoming more common, and provide us fans with a chance to see a lot of music over a few days. Unlike Garage Shock or The Las Vegas Grind, which have a pretty narrow musical focus, Terrastock reflects Phil McMullen’s broad tastes in music ancient and modern.

I spend the two months leading up to the Seattle trip, deep in rehearsals with Donovan’s Brain. It’s been 3 1/2 years since we’ve played out, and in the interim, we’ve acquired a new rhythm section. While they’ve done some recording with us, the songs on the set list are all new to them. Jeff and Ron are great players and have a feel for what I’m looking for, so it all sorts itself out by the time we do out first warm up as a four piece. A couple of weeks before we’re to leave town, Richard Treece flies in from London to bring the band up to full strength. Richard has done a fair amount of studio work with the Brain, here in Montana, and in London; but has never played live with us. I’d sat in with his band, Green Ray last summer in London, but it’s a much different matter learning the complete set.

The band seems a little skeptical, until he picks up the guitar the first time we all get together. On the first run through, Treece seems to have about 75% of his parts down. I spend a few days before the next practice, tutoring Richard on a few of the changes that he’s not sorted out. By the time we get out for our second gig on October 25th, most of the kinks are soothed out, and I can relax, and start thinking about the journey out to the coast. Earlier in the week we are joined by another Londoner, Richard Booth. He was coming out as a photographer, but his CV includes time with Plummet Airlines (one of the original Stiff Records bands) and Brainiac 5.

Ron Craighead and Colter Langan are flying out. Jeff Arntsen is playing a gig on the way out with his band B.U.T in Missoula, so he’s traveling on his own. It’s a 680 mile drive from Bozeman to Seattle, so we plan to spend the night in Ellensburg, Washington so we can drive into the city with fresh faces. It’s also gives us a chance to look up Mark Pickerel at his record shop. Mark’s sister Megan is a good friend here in Bozeman, and has suggested we drop in at Rodeo Records and say hello.

Friday November 3
By the time we get to Seattle on Friday it’s late afternoon. Terrastock has booked us into the splendid Camlin Hotel for the weekend. The rooftop bar, the Cloud Room has been a favorite stop for years. In fact, Colter had been to a Warner Brothers radio junket to see Elvis Costello here. We are forced to make a decision whether to head straight to the gig, or enjoy a leisurely dinner before we hit the town. We all vote for the Palace Kitchen. Jim Sangster’s wife Gretchen is the manager there, so we are assured of a splendid meal. By the time we get back to the hotel, and some of us take a nap, it’s 9pm before we get to the Showbox.

Due to our gluttony we manage to miss Ethereal Counterbalance, Voyager One, The Lothars, Windy and Carl, and Monkeywrench. The first thing we hear when we arrive is how good Monkeywrench were. In a weird Garage Shock crossover, it’s the ever present Tim Kerr who is the highlight of the band. I apologize to Kazzer for dawdling, but I’m not forgiven. It’s only later that I realize I’ve missed “Rustic” Rod Goodway disguised as Ethereal Counterbalance. I’m never introduced, so I don’t even know which happy festival goer he was. Hi Rod, see ya next time.

Tarentel are in full flight, as we get settled at the bar. They are one of those heavy drone guitar bands. We only see about half their set, so I can’t give a detailed report. Off the top, I’d say if you like Bardo Pond, they might appeal to you. Wellwater Conspiracy are up next. I’ve bought a surprising number of their singles, so I’m keen to get to see them . Matt Cameron is off playing the Arena with Pearl Jam, so it’s Dan Peters on the drum stool ( I think). They play in a much more garage punk style than I’m expecting. Their cover of “Lost Woman” is a stormer, and a couple of people come around and ask me who did the the original. (The Yardbirds). I thought Ben Shepard was joking when he starts giving the sound man some grief, but I learn later he really was pissed off. Good fun anyway.

I’d managed to miss Abunai! at T3, when I had to leave early to have dinner with the elusive Malcolm Morley. You don’t often get asked, so you don’t say no. I did meet Kris Thompson, and his easy going friendly way made me determined to catch his band this time. I’d been digging their two releases on Camera Obscura, but their stage show turned up the intensity a bit more. I’d put them in the “folky-raga rock” bin. Bassist Dan Parmenter handled most of the vocals, while Brendin Quinn wove a nice biting guitar texture through out. Recommended.

Jud Cost had told me to watch out for the Charalmbides. It’s a three guitar echo attack. Their low key sparse sound leave some of the crowd restless, but I find it to be very effective. There is actually less of this sound at T4 than anticipated. It’s reminiscent of Fripp and Eno or Fred Frith’s “Guitar Solos”. I once gave McMullen a hard time for not just inviting Fripp to play, but I doubt he would even if asked. It would be interesting to see the originator, but then it is amazing that he managed to influence so many guitarists.

Damon And Naomi and Ghost are the featured artists on Friday. McMuff holds them in a very special place in his heart, and they always give back 100%. I find them even better live than on record. I can’t figure that out at all. The guitarist from Ghost, Kurihara is often compared to John Cipollina. He’s really very good, but actually reminds me of Mick Taylor when he was in John Mayall! It’s that deliberate slide and sustain I think. Cipollina was a fearless player, occasionally losing the thread, but always pushing it out a little further. Time is running out, and Ghost only have time for a couple of numbers. Our crew is tired, and we drift out with the gentle sounds still ringing in our ears.

Saturday November 4
We wake up Saturday refreshed and looking a little more lively. It’s decided to take a drive out to Ballard to visit Jim Sangster and family. I had expected the Young Fresh Fellows would be playing, but these days it pretty hard to get them all together at the same time. Jim gladly accepts my spare ticket, though I think he would have loved to have been on stage. Richard Treece again asks to spend the evening back at the hotel, so we drop him off and grab a taxi up to the gig.

Saturday’s line up really strong, and the show opens with a bang. The Major Stars are back playing there heads down, no nonsense boogie. I think it’s Jim Sangster who points out “they don’t spend too much time on the song before they head straight to the jam. Kate and Wayne seem to be having a great time. They may be the loudest band of the weekend.

I’ve been looking forward to seeing the Minus 5 since I learned they’d be playing. "Let The War Against Music Begin" has been in the cassette player for a better part of a year, and it’s still not out yet. It’s too bad they have to play an early set, as most of the crowd doesn’t arrive until later in the evening. Ken Stringfellow is out on tour with the Poises, so there is no “weird keyboards zipping in and out”. A sax player joins in at various points during the set. It’s still Scott McCaughey’s songs, but it’s a bit straighter than your typical YFF gig. John Ramberg is rockin’ on his Silvertone, and Pete Buck shows off his bass chops on the other side of the stage. Much to Mammoth Records discomfort the Minus 5 have recorded and released another “tour” cd while waiting for the wheels of commerce to turn. They’re playing several songs off that one including "The Night Chicago Died Again" and "Little Black Egg". Once again Scott manages to go completely against the tide, playing a rocking set of tunes with little or no signs of wiggy sounds or droning guitars. My hero.

We decide we’d better grab dinner if we want to make it through the evening. It’s Martyn Bates up next, but our decision should not reflect badly on him. The Cajun restaurant we are lead to used to be called the Pike Market Cafe. I know this because our sometimes bass players Kels Koch and Joe Skyward both used to work there.

Crome Cyrcus is just getting underway as we return to the Showbox. I sort of think I saw them once back in 1968, but I’m not sure. I gather that this reunion is a big deal for some of the locals. I don’t know what these guys have been up to since 1968, but I suspect they’ve been playing Heavy Metal covers in a bar in Renton. The bass player has a nice enough voice, and seems to be playing with finger picks. I just don’t know, maybe it the guitar player who bothers me. It sort of sounds like hair band power ballads to me. Neal Skoke doesn’t take to kindly to my assessment, but I don’t know what else to say. Someone else’s nostalgia I guess.

In London at T3, it seemed like every time you turned around Pat Orchard was playing. He only does one set tonight, but it’s a complete set. With his effected acoustic guitar, he comes across like a punky John Martyn. Not a bad thing at all. He a powerful performer, and wins over the crowd from the small stage.

I do remember seeing SubArachnoid Space setting up, and I think I watched them, but I have no memory as to what they sounded like. Some of these heavy guitar drone/space bands sort of sound the same to me. It’s sort of modern cocktail music innit?

I do remember Amber Asylum, as they were one of the most original bands of the weekend. They make a very beautiful sound with bass, cello. violin, and drums. On paper this could look like a very pretentious proposition, but in practice it succeeds on all levels. The audience is totally mesmerized.

My friend Dennis Brown has told me too pay attention to Linus Pauling Quartet, as he’s a big fan. I have managed to turn up one of their CDs in a pawn shop in Billings, Montana, so I’ve heard them prior to this gig. This Texas big band makes a big noise. I seemed to remember one of the guitar plays picking up a sax for parts of the set. Again, it’s the heavy guitar sound. The set runs together, with no obvious breaks between songs. What starts out as an interesting texture, runs out of steam half way through. I’ve been trying to figure out the origins of this sort of music, and all I can think of is Hawkwind. Makes you realize what an important element Stacia was.

Jeff Kelly is fighting off a bad dose of rockin pneumonia, but has managed to make it to the gig. This the life he dreams of, the dissipated romantic poet guitar player. I ask him if he thinks the cigs will help, and he says he’s not inhaling. At T2 the Pajamas play a remarkable set in the middle of a amazing day of music. In London they never seem to settle in and when Jeff’s guitar amp goes haywire just in time for the big guitar solo ending many are left less than impressed. Tonight they make up for that, and play the best set I’ve seen from them to date. The sound is spot on, and the new songs from "7 Fathoms" sound like classics. Jeff Kelly shows some improved and adventurous guitar moves, even surprising the band. As it’s late in the evening, time is starting to run short, and the Pajamas’ set it cut to a tantalizing short 35 minutes. It’s interesting to note that even in their home town, it’s the international crowd that shows their appreciation.

The promise of Doug Yule and Mo Tucker seems to suggest some sort of collaboration but it never comes to pass. Doug Yule and his band play a set of originals, showing how much he still owes to Lou Reed. It actually really good, probably better than Lou would do in the same setting. Due to the all ages venue, the bar shuts down before 1am, and we decide it’s time for one more drink. it seems appropriate that the only bar open in the neighborhood is a gay bar. This is the seedy New York part of the show, so what do you expect?

We head back to the gig, just in time to find Mo Tucker in the middle of a long version of Bo Diddley. Oh well, that looks like the closing number and the end of the night. It’s nice to have seen Mo and Doug, but it is a stark reminder that the Velvets were far greater than the sum of their parts.

We’d better head back to the Camlin, and get a good night’s sleep. Sunday is a big day for the Brains, and we’d better be rested up.

Sunday November 5
Easier said. When we go around to gather up the Richards, we learn that Treece has spent another sleepless night. While it seems like it might be too late to do any good, I decide to rent another room, so he can have a single for the next couple of nights. This does the trick, and he lights up with delight. Wow, that was easy. The band meets up for a quick run through the set, and we decided to ask Richard Booth if he’ll add a harmony to the a Capella ending of "Holly Green". He jumps at the offer, and we’re set.

When we arrived at the Showbox, one of the guitarists from Stone Breath introduces himself to Treece, saying he’s got all his records and is a huge fan. That helps break the ice, and Richard is beaming.

Stone Breath are a collective of Hobbits, total immersed in the English Folk sounds. Treece points out that some of the songs are covers of John Renbourn and the like. If they didn’t do it so convincingly, you might not want to take them seriously.The guitar player has an incredible double neck acoustic: a six string and a bazouki. The singer has bells on his feet an occasionally stamps his belled foot in time. They are another real treat, and a perfect way to start this last day of Terrastock.

As Stone Breath come off the stage, it finally hits me that we’ve got to start getting set up. As a result, I can’t say I heard much of Delicate AWOL. There a band I really wanted to see, but with the task at hand only a few strains of music seep into my subconscious. We’re playing with the gear supplied by the fest , and I’m sure not going to complain about having to play through a Marshall half stack. It’s just trying to set up a six piece band on the little stage is an exercise in time and space. I’ve got to get Richard’s stuff organized for him, help guest keyboard man Scott McCaughey find some room to set up, and get my guitar and synth up and running. Someone shouts that we are fifteen minutes out, and I still don’t have anything working yet. I manage to get a couple of notes out of the amp, when it craps out on me. I ask for a hand, and someone comes around and wiggles the cords and knobs, and it finally all comes on. I hit a chord, Chris Porter introduces us, and off we go.

Scott McCaughey has called me in the morning to make sure he’d got all the changes worked out. We’re opening with a song that the Young Fresh Fellows had recorded with us. Scott is amazed that they managed to get them through a particularly tricky bit that late at night. Armed with cheat sheets our Scott is ready for what ever we can throw at him. It’s taken us months to learn the set, and he’s capable of sitting in with a couple of hours practice.

As we hit the first chord, it’s clear that the sound on stage is good, and everyone in the band has a huge smile on their face. Richard is playing some amazing stuff over on the other end of the stage. Treece plays sitting down, and has to move his leg whenever Jeff needs to step up to the mike and sing. At one point they nearly collide, and Richard breaks out laughing. There is a crowd gathered in front of him, hanging on every note and bend. We’re on auto pilot now, so I just lay back and play my parts.

Richard Booth jumps up and sings his notes when needed. Scott rejoins us for the second half of the set, which includes the two jams, "Central Services" and the new "Perky Pat". It’s the song that sits between those that is the weirdest one in the set: "Make A Noise Quietly". Through out this medley, I switch between the keyboards and guitar. At one point I put my hands on the keys, and hear some very foreign sounds. It’s just Scott back there doing what was asked of him. Before I know it, Colter tells me they are signaling us that time’s up. We are just where we should be, so it winds down naturally to the end. It’s all over too soon, but we seem to have gotten it across to the audience.
Six Organs Of Admittance start across the dance floor on the big stage as we begin breaking our gear down to make way for our friends Chris and Lucy’s band, Kinski. We decide to load up the gear so I can take the van back to the hotel. I’m planning on a few drinks now, and I’d rather be taking a taxi.

Kinksi are very popular in Seattle, and get a big mention in the write up in the Stranger. I’ve known Chris Martin for years. I the mid 80’s his band Beat Nothings are based here in Bozeman. I’d taken them out to California to record some demos with my brother. Of course they broke up as soon as they got back to Bozeman. I quickly draft Beat Nothings bass player Kels Koch into the first Brain line up.

In the early 90’s Chris forms Deflowers, an attempt at a power pop hybrid. They manage a couple of good singles and a cd before that band winds down. A second cd is released a year or so after they bust up. Kinski has been going now for a few years, and built up a strong live following. The CD is a good one, so I’m looking forward to finally getting to see them.

With the addition of a second guitar and synth sequences throbbing away, it’s a big loud sound. The set is all instrumental, which is too bad. The best thing on their first CD is one that Chris sings. About half way through the set, they break it down, while Chris works out on his effects pedals. Things slowly pick back up and the roar to the finish line.

Bardo Pond have a tough time following Kinski, but they also pull out all the stops. The Bardos are a band who I like, but most everything sort of sounds the same. It’s a good sound, don’t get me wrong. They play much better this year than last. In London they don’t really seem to gel, and they get slagged off in the UK press. By this point the Brains are looking hungry, so we all crawl next door to the Chinese, and refresh ourselves at the expense of the second half of Bardo Pond’s set and Children of the Rainbow. The music is clearly audible through the wall into the restaurant!
The Donovan’s Brain crew, Rico,and Kazzer seem well pleased with the night's efforts and eat up all the food laid out in front of us. It’s the last chance for all of us to sit down and enjoy some conversation. Colter, Jeff, and Ron C. are headed back to Montana the following morning and Treece will be flying home on Wednesday from Seattle. Beers are drunk and group photos are snapped before we head back into the Showbox for the last sets.

Due to bad weather, Country Joe’s flights are delayed, so there is a quick change in the running order. It’s decided that Bevis Frond will play next, and the Alchemysts will close out the night. Nick Saloman is a big guy with a big guitar sound. The day before an over enthusiastic fan has mistaken me for Nick, and ask me to sign his new album. C’mon, I don’t look anything like “Bay-vis” as he keeps calling me. He out weighs me by a good 75 pounds, and I’d like to think I take better care of myself. But, I couldn’t play like him if my life depended on it. The blues licks roll off his fingers with little effort. There are times I wish there was someone else in the band. A keyboard player would fill out the sound nicely, and give them a broader pallet to work with. I’m surprised to see Andy Ward in the drum stool. Someone had told me he’d died, and they had a new American drummer. Did I ever tell you about the time Sean Donahue and I got trapped in the front table and the Boarding House when Camel were playing the Snow Goose? No? Remind me to tell you next time.

It’s the next bit I’ve come to see. That would be Country Joe McDonald and the Frond. The original keyboard player/guitarist, David Cohen in also on hand. Chicken Hirsch was promised, but it seems he couldn’t make the gig. Now that’s too bad. He was a pretty important element in the Fish sound. I do miss his lazy funky drumming. No one plays that old fashion style anymore. You get the "Fish Cheer" and a couple more acoustic numbers before they break into killer versions of "Bass Strings", "Death Sounds", and "Sweet Martha Lorraine". Oh, it takes me back to 1966. Nick does a credible job on Barry Melton’s guitar solos. Again, it’s one of those sounds that would be impossible to recreate. I don’t think that old Barry could do it. It’s over far too soon for me. What no "Section 43"? Oh well I still have my memories. I have to go around and say hi to Joe and David at the end of the night. They seem a little dazed, but are in fine form. Thanks boys.

The Alchemysts have the very difficult job of closing out an incredible weekend of music. They jump right in with some very punky sounds. It’s very different for anyone else heard over the three days. Mid set, they take a turn towards some stretched out guitaring. What an amazing sound from just a trio. It’s the Gibson SG and Marshall, how can you miss. By the end of their the crowd is going crazy. They were that good in a weekend of some extraordinary performances.

I don’t think anyone wants it to be over. McMullen is wandering around with a glazed look in his eyes. There is much back slapping, and last minute trading e-mail addresses. It’s been a fabulous week for renewing friendships, meeting a few more faces, and spending time some of our good friends. The stragglers slowly make their way out to the sidewalk in front of the Showbox, where more photos are taken, and the last goodbyes are said.

The party’s over, long live the party......

Donovan's Brain's new CD "Tiny Crustacean Light Show" is out now on Get Hip. You can read a review here.

BACK TO THE LIVE SHOWS PORTAL

BACK TO THE BAR