You probably know Mat Kearney's music, even if you're not familiar with the musician himself.  He started gaining a national fan base a few years ago with the single "Nothing Left To Lose" from the album of the same name, and toured relentlessly in support of it, both headlining and as support for acts like John Mayer, The Fray and Jason Mraz.  The video for "Nothing Left To Lose" was in heavy rotation on VH1 and another single, "Breathe In, Breathe Out," was featured on Grey's Anatomy and used as the theme for the TV promos for the show's fourth season. [morelink]

With all of this behind him, Mat released a new album, "City of Black & White" on May 19th of this year, and started touring to support it. Mat will be here at The Pageant on July 13th, with fellow Nashville musician Erin McCarley supporting.  The first single, "Closer to Love" is doing well on the Billboard charts, both as a Top 40 single and on the Christian Adult Contemporary charts, and the video has just broken into the VH1 Top 20.

I got a chance to speak to Mat recently, and the charted success of "Closer to Love" was one of the topics we covered.  Mat's music has clear allusions to his faith, both on previous albums as well as "City of Black and White," and I asked if it bothered him that he was being labeled by others as a "cross-over" musician who had moved from being a Christian artist to a mainstream one.  He chuckled and said that labeling music is a "funny, dangerous job" - but one he thankfully doesn't have to do.  He explained that his faith is a huge part of who he is, but his music is also a huge part of who he is, and so it's not something that's easily separated.

The conversation isn't always about heavy topics - Mat is cheerful and talkative; confident in his abilities without being immodest.  When discussing what it's like opening for other artists, in front of crowds that may or may not be acquainted with his music, he compares it to a first date and says the whole experience of it builds confidence.  He remembers playing Madison Square Garden and when their set ended, getting a standing ovation and thinking to himself, "Maybe we belong in this arena, just a little."

While Madison Square Garden isn't on the tour schedule this time through, they have sold out shows on this run.  That said, despite all the traveling in the last few months - and no doubt in the months to come - Mat describes City of Black & White as a more mature album than Nothing Left To Lose.  He sees Nothing Left To Lose as his "Jack Kerouac album" - the new album is more about roots and Mat sees it as a more "inclusive" compilation.

The new album is inclusive - and approachable - but the lyrics aren't trite and the music - Mat plays both guitar and piano - manages to stay away from a dreariness that can sometimes accompany songs about love, hope, faith, and heartbreak.  The single "Closer to Love" is musically fun even when the lyrics aren't about happy things, while the title track, "City of Black & White," has a delicate strength to the instrumentation that matches the content of the song perfectly.

As Mat said during our interview, he's been "literally everywhere" - the song "City of Black & White" is about Istanbul, Turkey - and he will be here in St. Louis Monday, July 13th, at The Pageant.  Tickets are $10 at the box office, and Erin McCarley will be supporting.

For more information on Mat, as well as song samples, check out http://www.matkearney.com

7:35pm – Finally get in the gate.  Traffic was lousy but we showed up after the first band had started.  So it’s our own fault.

7:47 – Man, I’m glad we were late.  It’s hot out.

7:53pm – Still…um, waiting (yeah, let’s go with “waiting") for Dave.

8:01pm – When did DMB shows go from being “Sorority Girl Central” to “Cougar-fests”?[morelink]

8:15pm – Dave takes the stage.  Be still my beating heart.  Although I am the beneficiary of my wife’s love of men with receding hairlines.

8:32pm – I swear this is not a thinly veiled shot at the band but…why does Verizon Wireless Amphitheater smell like raw sewage?

8:39pm – Man, it’s hot.  I’m sweating like frat boy on Jeopardy. 

8:45pm – Half-an-hour into the show…still waiting for a hit song.

8:51pm – Good lord…the smell.  Is this what happens when patchouli oil and hemp bake in the sun?

9:00pm – 45 minutes into the show…still waiting for a hit song.

9:12pm – Can we do anything about the smell?  I hope people start smoking pot to hide the smell.  What’s this world coming to when you can’t count on DMB fans to smoke weed?

9:15pm – One hour into the show…still…waiting…for…a…hit…song.

9:19pm – I'm in informed that the smell is from a landfill.  If it smells this bad, I think it's a landfull.

9:22pm – Dave says he’s playing something off of the new album.  I’ll have to take his word for it.

9:30pm – One hour and fifteen minutes into the show and…we have a hit song!  Hooray for “Crush”.  Congratulations DMB, your “hits per show” ratio is now on par with Dishwalla and Deep Blue Something.

9:31pm – The wife goes to the bathroom.  Way to go, honey.  Everyone knows that real fans don’t care about the hits.  I’ll wait here and bask in the warm glow of familiarity.

9:47pm – Dave just mentioned how hot it was.  You know it’s hot when the guy from Africa is complaining.

10:00pm – One hour and forty-five minutes into the show…still waiting for hit song #2.

10:13pm – A question for DMB fans: Air violin?  Really?  You know you look like a Kansas fan at Rib America, right?

10:15pm – Two hours into the show… Still waiting for hit song #2.  Come on, Dave.  You can do it! We're all rooting for ya!

10:30pm – Last song of the set…not a hit a song.  C’mon, Dave.  You have to play at least as many hits as the Spin Doctors.  Maybe he’s saving everything for the encore.

10:37pm – First song of the encore AND… not a hit.  You know, say what you will.  But I, for one, admire the man’s consistency.

10:38pm – Well, at least we weren’t subjected to a bass solo.

10:39pm – Strike that.

10:45pm – Two and half hours in and we finally have hit song #2.   Unfortunately (?) it’s not one of his.  It’s a cover of All Along The Watchtower.

10:52pm – Thanks to the new fashion trend of girls wearing summer dresses while braless, the evening won’t be a total waste.

10:55pm – Show's over.  Two hours and forty minutes and a grand total of one hit song.  But the wife had a good time and that’s all that matters.  All I know is after all that, she’d better Crash Into Me when we get home.

Ever since I can remember, I've been a huge fan of The Beatles. In fact, I remember catching a lot of heat for wearing a "Let it Be" T-shirt to middle school over and over again. I loved them so much, I was willing to put my social reputation on the line and go against the grain of Nirvana era folks. 

While I truly believe that the original versions of The Beatles classics can’t be beat, there have been some covers over the years that do the original’s justice.

You may certainly not agree with my picks (I was wrong once), but here is a list of five cover songs that absolutely rocked my socks off.

[morelink]

With a Little Help From My Friends by Joe Cocker. The song was originally an upbeat melody written by Lennon and Paul McCartney, and Joe Cocker took the tune and put a classic 1950’s era rock spin on it. Plus, it served as The Wonder Years theme song, and that show was awesome.

Across the Universe by Fiona Apple. I think Apple’s voice is what did it for me. There is a certain austerity to her voice and her piano playing is genuine. 

Eleanor Rigby by Aretha Franklin. Franklin brought soul to a rather odd and quirky original. If you just sit and listen, you’ll feel it’s spirit uplift you and you’ll jive in no time.

Imagine by A Perfect Circle. OK, so any knowledgeable Beatle’s fan just raised a red flag at that pick. While Imagine was actually written by John Lennon and Yoko Ono after "Fab Four" split, I’m going to bend the rules on this. A song by Lennon is kind of like The Beatle’s estranged brother, right? Anyway, A Perfect Circle’s cover of the 1971 peace anthem captured the original core message while introducing a darker rhythm behind it. 

Come Together by Michael Jackson Ike and Tina Turner. I have to give it up to Jackson, he tried and it actually was a successful pop hit in the 1980’s, but it was a little too generic for my taste. The duo flat out rocked the song. There is something about the version that makes you want to sit in the back of a smoky soul club with sunglasses on and bob your head. Did you know there there are 50 or more artists who covered Come Together? Crazy. 

If you are looking for more Beatlemania to quench your thirst for covers and tributes, check out Rain, the ultimate tribute band to The Beatles. 

Unfortunately, I can't produce any audio samples for you without putting my tail on the line, but I can direct you to iTunes for sampling. 

Braun boasts a rap resume that includes a run with the popular jazz/hip-hop group Jupiter Jazz, a gig that landed him opening spots for B.B. King, The Black Crowes, and others. Though that group disbanded a few years back, Braun says Jason and the Beast is the creative outlet he's been craving and he's more committed than ever to showing young audiences that poets like Shakespeare can still entertain with the best of them. "It's important to remember Shakespeare wasn't writing plays or sonnets to be put into a book for people to study, he wanted to pack the house. You want romance, you want fart jokes, you want images of peoples' eyes getting poked out?...Shakespeare has it."

Catch Braun's tutelage live at Cicero's on April 11 or Southwest Illinois College on April 22. For more dates, hop over to Jason and the Beast's MySpace page and click [tab:video] for a peek at the group's most recent music video, Street Preacher.

Photos courtesy: Jason and the Beast

Lead vocalist and songwriter Justin Fuirstenfeld and band aren't known for being the most positive mascara wearing boys on the block, and Approaching Normal is chock-full of damaged emotions as well. Like other releases, there are a few more positive songs on the release and they definitely stand out. Their playful song about life's ups and downs, "Jump Rope," is genuine and one of the better tracks on the CD. But I am always a sucker for a group of kiddos singing a chorus; unless it is intended as a spooky, horror movie effect, that is. The song "My Never," where the band sings about loving and longing, is another bright spot on the CD.

Here is where the review has to go downhill. While the release has its good points and songs, it takes a few very scary turns for the worse. For example, every band "with a message" has to have a song about the war, right? Wrong. Unfortunately Blue October has their own, self conscious, attempt at politics and anti-war messages in their song "Kangaroo Cry." The music and the piano is very nicely played, but when they sing, "She had the saddest look I've seen/A kangaroo cried," my hands flew to the iPod wheel and I had to rewind to make sure I heard it right. Yep... a kangaroo cried. Wouldn't a koala bear or a panda bear have been more effective, they are cuter after all? I am not sure; I am just not sure.

A lot of good CDs have that track you always skip past, but when Blue October gets to the song "Blue Does," you more than want to hit skip, you want to rip the song off the CD and give it to another band. Fuirstenfeld's attempt at a Coldplay style, quiet ballad is just awkward and wrong - he is much better at singing with force. The lyrics are great, and the song its self is good, but not for this band. The final song on Approaching Normal is just graphic and disturbing. In the last track, "The End" they describe a murderous, peeping ex-lover's vengeance and you really feel like you need to take a shower - seriously.

The album's first single, "Dirt Room," was released at the beginning of the year and is another redeeming cut off the album, and if you are able to take the good with the bad the release might be worth a listen. Overall, Approaching Normal gets two creepy kids in a window out of five. I will still see their show at The Pageant next week and just hope they don't play "The End" because I am a fan of a lot of their stuff (I will probably sing along a lot, too).

According to The Pageant, "The group of musicians that eventually formed the Clumsy Lovers didn't really intend to start a band. They'd just play out around their home base of Vancouver, British Columbia, spinning their folky, often riotous take on rock in pubs, basements and backyard parties. But people noticed and starting clamoring for more than just the weekend gigging, and the band was officially born."

The talented quintet is touring the U.S., including three stops in Missouri. They're doing their "raging bluegrass/celtic/rock" thing at the Pageant tonight, and it you decide to check them out, prepare your self for mayhem on the dance floor.

Where: The Pageant's Halo Bar
When: Thursday, March 26
Time: Immediately following Railroad Earth & Split Lip Rayfield - 11 p.m.
Tickets: FREE show

To preview what you can expect from their Make Yourself Known CD Release Tour before you head down to The Loop, click on [tab:video].

Recently, Pat, Scott and Sean have come up with a name for what they do: Stompgrass. Yep, they're starting a stompgrass movement in Missouri, and it's catching on like wildfire. If you ever have the chance to see them live, I give you about five seconds until you're off your butt and tapping your foot. That's just what stompgrass does to a person.

According to the boys, this is how to make The Hatrick:

Ingredients:
2 parts HipNecks
1 part Bockman
Directions:
Shake vigorously until sounds like Soggy Bottom Boys 2 Men.

Although this jam band is based out of Columbia, they like to spread their sound all over the country. Lucky for us, they make trips to the St. Louis area often. Next up is a show at Felix's, followed by a couple at Pop's Blue Moon and Broadway Oyster Bar.

Where: Felix's
When: Friday, April 3
Time: 9 p.m.

As an added bonus, the band considers itself to be a bit of a human jukebox. Chances are, they'll know almost any song you can come up with, and they'll play it well; I've heard them put their own spin on everything from Old Crow Medicine Show to Afroman, so that jukebox thing isn't a stretch. After you watch the video, I'm guessing that I'll see you there. I'll be the one dancing around and mouthing the words to every song.

Click on [tab:gallery] to see pictures of The Hatrick playing everywhere from Colorado to McGurk's, and click on [tab:trav_video] to experience the awesomeness that is the beginning of Missouri's "stompgrass" movement.

Read on to learn more about Sheila, and click on [tab:audio] to listen to her song "Stale"

Since studying music performance at SIUE you have become a staple in the local music scene. Do you think studying music has had any impact on the way you see the music industry, and would you recommend it for aspiring musicians?

College was what I like to refer to as my musical "boot camp." I studied classical piano, and have yet to experience a more stressful style. Depending on the environment, playing 60+ minutes of music from memory can be pretty nerve wracking! I always like to compare it to taking a timed exam where you've studied for months, have no eraser, and to make things even better, you probably have a group of experts looking over your shoulder the entire time. I definitely don't think you have have a formal education in music to be a good musician. I actually tune out my formal knowledge when I'm writing/performing. I feel that music should come from your heart and not from your head, so I don't like to think about things like chord changes and song forms when I can avoid it.

It does makes things a lot easier though, especially when having to teach other people your music. For example, since I know how to read music, I was able to compose and score string parts for some of my tunes, which saves a lot of time when teaching them to other musicians. As far as the business side of music, I think any artist interested in pursuing a career professionally should work to educate themselves. There are tons of free/cheap resources out there and lots of helpful people who can give good advice. One of the ways I was able to get versed was by doing some volunteer writing/editing for a St. Louis music publication. The music industry definitely the oddest marketplace out there, so it's good to know how it all works. I'm still trying to figure it out and I've been at it for a couple of years.

You were named as one of St. Louis' biggest up and coming artists recent and you have been very busy with your music career lately; any plans to take your music full-time?

That is definitely a goal of mine. Like I kind of mentioned earlier, the music industry is a tough nut to crack. I'm very fortunate to have a passion for something a little more stable (computer programming). I'd like to continue doing both as long as I can. It gets pretty tiring at times, though!

You picked "Stale" as the song you wanted to share with your profile; could you tell us the background about the song and why you chose it?

I wrote "Stale" a couple of years ago, right before I made the decision to start performing. After I left the classical circuit, I went for a long time without playing. It has always been my ambition since I was little to make an impact through music, but for the longest time I was really bashful about performing my own music in public. So "Stale" is directed towards myself, instructing me to get over my issues before it's too late to make a difference.

What is your writing process like?

Tends to vary with each song, but usually it starts with some melody getting stuck in my head. Usually I'll record it to make sure I don't forget it (learned my lesson after forgetting a couple of songs). Sometimes I'll write the entre song in one fell swoop, but usually I'll let it sit for a while to let it evolve in my head. A lot of times I'll forget about it and then come back to it by accident while thinking up a different melody that turns out to fit really well with the first one I got stuck in my head. Eventually I'll end up with an entire song, and have a good idea of the instrumentation that will sound right for it. I actually have a bunch of songs I haven't finished because they call for way more instruments than I'm used to writing for. But for the ones I play now, they can all be played with just a guitar or piano, and I can play both of those.

After I know which instrument to play, I'll work out the parts on the guitar or piano. By that point I've usually got a good idea of what mood/message I want the song to convey, and usually have a few phrases that have come out to me. Then I'll sit w/ a notebook and write the song independently of playing it. Sometimes the words will flow pretty easily, other times I'll brood over it for months. I'm very meticulous about my lyrics. Since the melody is such a driving force for me, I choose words that have the phonetics to fit the sound I want to make. If a word works in meaning but doesn't fit the song just right, I'll sit on the phrase forever until eventually the right word will come out.

What is your favorite thing about St. Louis' local music scene?

My favorite thing is probably the sense of community among so many of the musicians. Everyone is so encouraging of other artists - it's rare that I have a gig where I don't make a group of new friends.

Where can we find your music and see you perform?

We're wrapping up my debut album right now - we're shooting for having it completed within a month or so.

The Ting Tings are playing at The Pageant on April 3. The show was originally scheduled for one of Blueberry Hill's rooms, but due to the overwhelming response they moved up the street to larger performance quarters.

The Ting Tings are an alt-pop duo from the UK who have been gaining traction around the globe since they have taken their incredibly catchy and peppy songs on the road. You can check out the video for their track, "Shut Up and Let Me Go," by visiting the Ting Ting's TV channel on YouTube.

The Pageant is also the venue for another band coming to the 'Lou that is worthy of your concert goer consideration.

Blue October's latest release, Approaching Normal is due out Tuesday, March 24 and the highly anticipated release from this progressive rock band from Texas is already creating a buzz. They are appearing on Jimmy Kimmel Live Wednesday, March 25 and they are rolling into St. Louis on April 5.

Blue October has always demonstrated a huge range in musical sound but maintained that progressive edge with each single and album. Their new album promises to again push the band's boundaries (keep your eyes peeled for a review here on ToastedRav.com), and they are one of those rare bands that sound great in the studio but even better live. You can check out the video for the single "Dirt Room" from their upcoming CD Approaching Normal by clicking on [tab:video].

There are still tickets remaining for both of these upcoming shows, and I would highly recommend snapping up a pair for yourself. You can get tickets at The Pageant box office after 5pm any day the venue has a show, or through Ticketmaster.com.

 This was probably the first time that I've been just as excited to see the opener as I was to see the actual headliner. Grand, their sophomore album, has been on constant repeat on my iPod since its release back in February and has serious legs to possibly end up as my favorite album of the year.  The duo's set up (Matt on keyboards, Kim on drums) may seem too simplistic, but their destructive dance punk melodies and enthusiasm had the crowd engaged throughout their entire set.  Matt & Kim genuinely seem to have fun playing, from the smiles that never left their faces their entire night to their propensity to just stand up mid-song and interact with the crowd, and you couldn't help but have as much fun as they were.  The duo tore through a track list spanning both their albums and even treated listeners to a cover of Europe's "The Final Countdown" before delivering their current single "Daybreak".

The energy of Cut Copy wasn't quite as overt as their opening act, but was channeled in a more deliberate and refined manner.  Cut Copy really reminds me of New Order with subtle beats that seduce rather than attack you.  The band's lighting setup channeled a subtle color scheme, both futuristic and retro at the same time.  As Cut Copy wove through their song set, the band let their music take over to get the crowd dancing, hitting their song "Lights & Music" early on to get people moving.  Keeping the momentum going, the band laid down song after song, stopping occasionally to encourage people to dance.  But really, no urging was needed.  I dare you to try and sit still while listening to "Hearts on Fire".  Seeing as Cut Copy hails all the way from Melbourne, Australia, they probably won't make their way through St. Louis again anytime soon.  In the meantime, be sure to pick up a copy of In Ghost Colours to kick off your next dance party.

Their debut album, Swan Songs sounds kind-of like the way Eminem would flow if he were using Ozzy's last album as background music. The six dudes from California are known for their dark, introspective lyrics, but unlike many similar groups in this genre, you can actually understand the words. Some call it morbid Hip Hop, and others call it fashion-conscious heavy metal, but either way, they get huge points for actually making their lyrics coherent.

When: Saturday, March 21
Time: 7p.m.
Where: The Pageant
Cost: $16.50 or $20 at the door - Get yours here ahead of time

Hollywood Undead's "Undead" (aka "Out the Way") is at the top of my playlist, so click on [tab:video] to see what you're in for. It's, um, PG-13, so please listen accordingly.

The band's newest album, The Hazards of Love, is a rock opera that tells the story of a woman named Margaret who falls in love with a man who lives in the forest but is kidnapped by the forest's Queen. A rock-opera alone isn't a novel idea, but it is an especially fitting format for a release from a band known for their mastery of the musical narrative. The love story is told before an indie-rock, slightly folk sounding, emotional and musical background that, while each song on the release is a progression of the story, gives the individual songs enough weight to stand on their own.

The Hazards of Love might be a great entry-point into the band's catalog since you can fully appreciate and indulge in their storytelling that makes has gotten them noticed in the (ironically?) crowded indie scene. They are starting to build steam within the rock community and with this release and their March 18 show at South by Southwest we will probably be hearing more about these guys. As a newcomer to The Decemberists The Hazards of Love motivated me to dig through their past releases for more, so I give The Hazards of Love four crooked tree branches our of five.

Local singer/songwriter Blue has been the driving force behind the STL SHE! Shows, the all female musician showcases that are put on every two to three months around town. Blue's unique folk sound combines a signature blend of Celtic flair, jazz style and acoustic instruments for original songs and unique arrangements of old favorites.

In anticipation of her show at Picasso's Coffee House on March 21, Blue talked to us about her influences, the importance of her acoustic sound and the St. Louis music scene. Read on to learn more about Blue, and click on [tab:audio] to hear her song "Deliver Me Up" from her CD Charm.

Many bands, even in the folk world, are starting to incorporate electric instruments like electric mandolins and guitars more often but you have remained primarily an acoustic performer. Can you explain why this is important to your sound and how it has impacted it?

I used to be in an electric band and there were a lot of fun times but as I've gotten older I've moved toward quieter and calmer music. I think that's a pretty normal progression but in my case it felt more like coming home again. I've always loved acoustic folk music and all of the songs I write are written as acoustic folk songs. When I've been in electric bands we've rocked up the songs some but I've always been more comfortable with these songs being performed as they were written.

There is a purity of strictly acoustic music that I love. My husband and I are nature freaks, lots of camping and long distance bicycle touring. Playing acoustic music parallels my love of the natural. We've been given such a beautiful world; I don't think we can do very much improve it. Music is the same way. I love that the combination of wood and string, wind and metal, can make such beautiful music. Adding to it is like a 10 page restaurant menu. Too many choices! How can you ever decide which is the right sound for each note of each song? I want to keep it simple and pure.

Your music is described as a mixture of folk, Irish and blues. Which styles and artists are your biggest influences?

My current music now that I'm a solo artist is a mixture of folk, Celtic and Americana. But some of the biggest musical influences in my life have been jazz musicians... mainly John Coltrane. The way I thought about music was totally transformed when I heard his "Ol'e" album the first time. I could listen to nothing else but that album for weeks. I'm a completely self taught musician and I certainly am not skilled enough of a musician to play good jazz! So perhaps my strange style is my poor attempt to emulate the feelings I get from Coltrane.

I'm also drawn to powerful female vocalists like Annie Wilson, Grace Slick, Holly McNarland, Tori Amos, and Janis Joplin. Lila Downs has inspired me the most. Her vocal range is just incredible and I work hard to increase my own range. I'm up to to two and a half octaves but that's probably less than half of Lila's. Maybe some day I'll have to admit defeat and take lessons.

How many different types of instruments do you play?

I play guitar, mandolin, flute, Irish whistle, a little saxophone and percussion. I use a looper pedal during live shows with allows me to record my guitar and mandolin and then play my flute and Irish whistles on top of that. The looper pedal has been a lot of fun to play with. I've started using it to build more complex songs and even add some vocal harmonies to my songs. I do all of the recording on the looper live during my shows... no prerecordings. I think it makes the show very interesting but is risky. Getting the timing right with the looper can be tricky; I'm actually surprised that I've been able to get as accurate with it as I have.

Can you tell us a little bit about your history?

I've been playing music and writing songs since I was a little kid. My first instrument was one of those little toy xylophones when I was about four years old. I taught myself how to play every song I could on a little eight note toy. Then we got recorders in first grade YAY! I took mine home and learned every song I could think of. I played flute in the school band for a short time in second or third grade but my flute got stolen and my parents were too poor to buy a new one for me... very sad.

I finally got a used guitar from a pawn shop when I was twelve and spent hours and hours with a "Teach Yourself How to Play Guitar" book by Roy Clark. So I do know how to read music (slowly) and chord charts but I mostly play by ear and "make up" my own chords to match the sounds I hear in my head. I have names for the chords like "Blue 7" and "Blue minor add G." It drives trained musicians crazy.

The mandolin I picked up used about six years ago in an eBay sale and learned how to play it quickly. It's a fun little instrument and is now one of my favorites.

There's a funny story behind the Irish whistle. My husband bought an Irish whistle to play around with but it sat in a drawer for a while. When we were recording "Deliver Me Up" on the "Mirror" album, I thought 'hey an Irish whistle would be really great in this song!' So I got it out of the drawer and played around with it for a few hours and then recorded the Irish whistle part of "Deliver Me Up" the very next day. I think that's so amusing because I had no idea what I was doing at the time... I hadn't yet gotten a firm grip on the correct breathing needed to play the three different octaves so I'm all over the place in the recording and there are a lot of unintentional squeaks. But we thought it sounded pretty good and I still love the whistle track on that song. Now that I'm more adept on the whistle I actually think I've lost the wild, unique quality of the solo on that song.

What are some of your favorite things about St. Louis' local music scene?

I love the rich musical history of St. Louis; we should be very proud of it. There is still a very active blues scene in St. Louis as well as a great rockabilly scene. But I think the St. Louis music scene is facing a lot of challenges today... the rise of digital entertainment and the evolution of our city into a sports city has really damaged the scene. I applaud people like you and others like Becca at STL Sound Magazine and KDHX radio for supporting our local music scene. Please keep it up!

Where can we find your albums and see you live?

My performance schedule is listed on my website BlueTappMusic.com and my CDs are for sale on CD Baby (find the link from my website). I perform around St. Louis three to five times a month at various coffee houses and venues. This Saturday I'll be at Picasso's Coffee House in St. Charles. Come on down!