Chicago musician Rebecca Francescatti harnesses spirit of Patsy Cline on new EP, "The Kitchen"

By ERIC SCHELKOPF

If you're tired of what passes for country music these days, you would do well to get a hold of Rebecca Francescatti's new EP, "The Kitchen," which harnesses the spirit of Patsy Cline and others.

Her band, Rebecca F. & The Memes, will celebrate the release of "The Kitchen" with a show Jan. 9 at Schubas, 3159 N. Southport Ave., Chicago. The show starts at 10 p.m. and tickets are $8, available at www.schubas.com.

I had the chance to talk to the Chicago musician about the upcoming show.


Q - Great talking to you. Of course, your new EP, "The Kitchen," will be released in January. In sitting down to make the album, what were your goals and do you think you accomplished them? How did you go about choosing the musicians on the album, which I understand include drummer Joe Adamik, known for his work with the band Iron & Wine?

We wanted to make a true-­blue, old­-fashioned country album. Fit with the kind of beautiful, melancholy, meaningful songs for which classic country cats like Merle Haggard, Johnny Cash, and Willie Nelson are known.

Basically, we wanted to bring country back. Strobe Recordings Studio owner James Frederick Wagner selected the musicians, recorded and produced the album.

His production style is truly singular, and Strobe is such a beautiful, private place to work. A real Chicago gem.

Jamie also played bass on the album.  

Q - You had a development deal with R. Kelly's Rockland Records. What were the biggest lessons that you learned from the experience and R. Kelly?

Those lessons were a hard time coming. When you score a development deal with the biggest hit writer of the '90s at the age of 25, you expect fame and fortune.

That didn’t happen. After being tossed back into the sea of Real Life, it took me a bit of time to shake off the delusion.

The biggest lesson I learned was something I heard that Elliott Smith said years ago, and I paraphrase: “No one cares about your music as much as you do.” No one can make your career: only you can.

I can write songs til I’m blue in the face, but if I’m not out there recording them professionally and promoting them, they will disappear into the ether. It’s not good enough to be in your bedroom creating a huge catalog of songs with ProTools, it’s not enough.

As Theodore Roosevelt wrote, “The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again.”

Q - The judge ruled against you in your lawsuit against Lady Gaga. Were you surprised at the verdict? Do you think that your experience provided lessons for other musicians?

I was surprised we didn’t get a trial by jury, because I was raised that in America, you get to have a trial by your peers. That was a learning lesson.

Loopholes.  Unfortunately I think my case shows that copyright doesn’t matter, that our rights as solo songwriters aren’t protected in today’s climate of “digital barbarism,” as writer Mark Helprin puts it.  

My essay, “Why You Should Care That Lady Gaga is Suing Me for $1.4 Million Dollars” still exists online, though my lawyers strongly advised me to remove it from my personal website – which I did.  

Basically the powers that be want us to be afraid, so afraid they’re willing to sue a penniless artist for a million dollars. Their shot across the bow is: “If stand up to the corporate infrastructure, even if you’re a nobody, we’ll ruin you.” 

Q - Now Lady Gaga is suing you for legal costs that total $1.4 million. What is your next move?

We’re working on an appeal.  At this point, and throughout the case, I’ve followed the advice of my lawyers. 

Q - What do you think of the Chicago music scene and how do you think you fit into it?

Chicago’s awash in untapped talent. L.A. and NYC are commercial hubs, but in Chicago, we’re still making music just because we love it.

If New York and L.A. ever noticed, great music might make a comeback. Sure commercialization of the scene would change Chicago’s innocence…but at least artists would start getting paid.

Q - Do you have any dream projects or collaborations?

Fingerpick and sing “Don’t Think Twice” with Bob Dylan on the Grammy stage; co-­lead a revolution w/ Russell Brand, be his queen; co­-write a film called "Digital Meltdown" with two of the funniest men I know, Matthew Stabley and Luke Matheny, produce it, and win an Oscar.  Yeah, I do!

Chicago band Low Swans bringing captivating sound to House of Blues

By ERIC SCHELKOPF

Chicago electronic rock duo Low Swans has a captivating sound that demands attention, as it proves on its latest album, "The World Has No Clothes." 

Low Swans will perform Jan. 9 at the House of Blues, 329 N. Dearborn St., Chicago. King By Friday, Justin Sumler and White Radio also are on the bill.

The show starts at 7 p.m. and tickets are $13.15, available at www.livenation.com.  

I had the chance to talk to frontman Jon Scarpelli about the upcoming show.


Q - Great talking to you. Your latest release, "The World Has No Clothes," was released in November. In sitting down to make the album, what were your goals and do you think you accomplished them?

I think the first goal was to make something that pushed the electronic aspect of our sound without sacrificing the dynamic impact of the songs I was writing or a feeling of the music being live. I think the vibraphone, guitars and vocals take the electronic tracks to a place that comes off like a band more than a fully programmed arrangement... so in that regard I think we were mostly successful.  

http://lowswans.bandcamp.com/

Another thing was more about production and sonic quality. I have generally taken a somewhat off the cuff approach to producing the songs.

Tons of first take stuff, rough around the edges and spontaneous. This record was intentionally poured over and cleaned up over the course of the year it took to produce.

Not to suck the life out of it, but to me it was a matter of the songs translating the best they could to the audience. We had a lot to say lyrically and musically and made sure that no technical short comings would get in the way of what we wanted to get across.

In that regard, I'm definitely happy with the outcome.

Q - What is the meaning behind the album's name?

It's a pretty obvious reference to the story "The Emperor's New Clothes." It's kind of an assertion that despite all of the arguing and debating that goes on in the world about pretty much any issue, it seems to me that everyone is choosing to ignore the core problem that is at the root of all problems. 

Not sure I need to get into the specifics of that, except to say, I feel that our society is set up in a way that we have to collectively have faith in a system that no longer serves its purpose in order to maintain the status quo.

The songs on the album, one way or another, address this idea from difference perspectives.

Q - What was your vision for the band when you put it together? How do you think the band's sound has evolved since its inception?

I'm not sure we had a specific vision other than just making the music we wanted to make. I think in the past, the bands we had been working in created their own sort of limitations.

This is not to say that the groups lacked anything, but because of how specific the sound of the groups were, moving forward and growing was somewhat confining. At this point Low Swans feels like a synthesis of so many influences that it will be fertile ground for a long time.

Q - I imagine you have heard the band's sound described in many ways. How would you describe the band's sound?

This is always a tough question to answer, not out of hubris, but just because I think of the music in terms of my main songwriting influences, yet I always hear back from people that it sounds like stuff that has nothing to do with where I think I'm coming from.

By definition we're an indie band, but I don't think the music really reflects that. I think we're a little bit more broad, for better or for worse. 

Let's say, electronic singer/songwriter rock. That's a lame description...

Q - Who or what are the band's biggest influences and how have they influenced the band's music?

Dead Can Dance is a huge influence. There's a song on the record that I feel is essentially an homage to them... I just can't say enough good things about that group. Truly unique.

Their music is almost always setup on a rhythm and a chord progression that gets built up on as the piece progresses. Rarely do they shift tempos or feels or make drastic changes to the harmony.

It's a trance like approach to songwriting, which I think very much applies to what we're doing. In a way it relates to a lot of EDM stuff, which was definitely an influence in the production sense.

But beyond that there is a ton of 80's stuff that is an obvious influence... Peter Gabriel, Tears for Fears a little bit of Depeche Mode. Then there is a huge contingent of singer/songwriters who are a major influence as well.

Ryan Adams, Jeff Buckley, Thom Yorke stuff like that. And also stuff like James Blake, Chet Faker, Modeselektor.

I think the result in our music tends to be more in spirit of many of those influences, rather than in specific techniques or ideas.  

Q - What do you think of the Chicago music scene and how do you think the band fits into it?

From what I can tell, there is a ton of talent and variety out there. I think in general Chicago has always had variety as a strength when it comes to music. 

I'd like to think that we're filling a place between something potentially mainstream and the more eclectic interesting stuff that happens on the fringes. That's not to say that I think we have anything fringe-y about us.

I just think our sensibility might be more interesting to audiences who like unique stuff and variety more than those who like the status quo, yet somehow scratching a kind of mainstream itch.

Q- What are the band's short-term and long-term goals?

The goal, like the vision, is just to be in a position to keep doing it. To be able to get across to people in a way that gives momentum for us to continue.

I would hate to get to a point where its just a narcissistic thing for us to go out and play a show. I know pure art can sometimes be seen as being for the sake of itself or uncompromising to the public opinion.

But frankly, I'm not about to ask my friends to come to my show and not try and entertain them.  People have to put effort into being a fan and I really want to respect that.

I see no point in putting out music and putting on shows that are just for us. I feel like if an artist has something to say that they should make every effort, short of being phony, to get those ideas across.  

What I'm most happy with in Low Swans is that it's both authentically us, but it also can speak to others. That's really the goal at all times.

Chicago blues band Po'Boy Special bringing energetic sound to the Metro

By ERIC SCHELKOPF

On its new EP, "Barely Gettin' By," Chicago blues band Po'Boy Special shows off the boundless energy that it creates on stage.

Po'Boy Special will open for Ethan Butler on Dec. 26 at Metro, 3730 N. Clark St., Chicago. Captain Coopersmith, Bluefish Fellows and The Casual Ties also are on the bill.

The show starts at 8:15 p.m. and tickets are $12 in advance, $15 at the door, available at Metro's website at www.metrochicago.com.

I had the chance to talk to guitarist Anthony Barraco about the upcoming show.

Q - Great talking to you. The band has gone through several incarnations in the last year. How do you think the band's name reflects your current sound? Are you happy with how the band has evolved? 

I couldn't be happier with the band's evolution. The changes we've made in my opinion have been beneficial to the group.

From top to bottom, the current lineup doesn't have a weak link. Every member has a specific role and it's important to have the right people in place.

The band started in 2011 and it's no secret we've been through many members. Throughout our history we've had 13 people in the band, and without each and every person involved, we wouldn't be where we our today.

It took us a while to find our niche. We started out as some sort of hybrid to blues music.

We would get away from it here and there but for some reason, it would naturally pull back. Originally we called ourselves Mojo Walker. At that point, we were fronted by a male vocalist. 

We went to a format rarely seen after that - we had three girls front the band. That's when we changed the name again, calling ourselves Bittersweet & The B-Sides. 

In early 2014 Brandon James became our new vocalist. I thought The B-Sides had more of a feminine ring to it, so I decided to change the name again, and that's how Po'Boy Special came about. 

I wanted you to hear the name and know just by that alone we were a blues band. "The Po'Boy" is a staple at any blues club in Chicago, so do I think our name fits our current sound.

Not only do I think it fits, I think it's perfect!

Q - In sitting down to record "Barely Gettin' By," what were your goals and do you think you accomplished them? What would you like people to come away with the EP?

Our primary goal for the E.P. isn't as much for the fan as it is for the industry. In fact, I don't even know if there's gonna to be a hard copy printed.

The point of recording is to get yourself out there. We really needed new material to showcase what our band was about. 

http://poboyspecial.bandcamp.com/releases

I'm proud of everybody for the quality of work they put into it. We're really hoping to get our foot in the door in some of the city's premiere blues clubs. 

Chicago's tradition for blues music dates back to at least the '30s and is still holding strong today. There's a scene for the music we play and we want to be part of it. 
 
Q - What do you think of the Chicago music scene and how do you see Po'Boy Special fitting into it?  Do you have any favorite places to play? 

We've been paying our dues for what seems to be forever, we've played all over Chicago and one thing I can say about our city is that there is so much talent.

We've had the privilege of sharing the same stage with some very talented artists. Being a blues band, we get booked with every genre of music. It seems like we just fit in.

We were fortunate to catch a few breaks this year. In July, we got to headline the House Of Blues, which is always a memory you never forget and we're looking forward to closing out the year at The Metro.

But I gotta say a few places stand out on a smaller scale, be it sound, the room itself and most importantly hospitality. For that I'd like to take the time to thank The Cubby Bear, Beat Kitchen and The Double Door, all wonderful venues to play at. 

Q - Who or what are your main musical influences and how do you think they affect your music? 

I think everybody you've ever listened to has to some degree of influence on a musician, but when it come to Po'Boy Special,  there's a few artists that have helped mold our sound. I'm sure I'm gonna leave some people out but it all starts with the great Muddy Waters and Willie Dixon.

Another artist that is very important to us is Freddie King. He's probably had the most impact on us as a group, we honor him in the latest E.P. with a track called "Texas in Chicago." Mark and I wrote this as a studio track.

It turned out to be one of my favorite tracks, this song screams Freddie King. Magic Sam is another influence, along with Luther Allison, Koko Taylor and let's not forget B.B.King.

Q - What are the bands short-term and long-term goals?

We're not reaching for the stars, we do this cause we enjoy playing music. Sure if we could make a living playing our instruments I think everyone would jump at that chance, but with the Internet and the way music is distributed nowadays, it makes everything much more challenging.

We're hoping 2015 will be a good year for the band. We really would like to start meeting other bands that share the same interest in music as we do. 

As I said earlier, I think more than anything we would like to playing at the blues bars, Rosa's, Kingston Mines, Chicago Blues, and Legends, along with being involved in some family orientated environments such as festivals.

And if we can get signed along the way, that would make for an even better year!

Chicago bands teaming up to present third annual Woman Power Holiday Show

By ERIC SCHELKOPF

For the third year in a row,  Chicago-based group Diana & the Dishes will present the Woman Power Holiday Show, a night of female-fronted bands raising money for a nonprofit that supports women in Chicago.

This year's show will benefit Global Girls, a dance, theatre and performance education organization for girls in Chicago's South Shore neighborhood. 

The show will be presented Dec. 22 at Schubas Tavern, 3159 N. Southport Ave., Chicago. The music starts at 8 p.m. and tickets are $15, available by going to http://www.lh-st.com/Shows/12-22-2014+Woman+Power+Holiday+Show.

I had the chance to talk to show organizer and Diana & the Dishes frontwoman Diana Lawrence about the upcoming show.

 

Q - Great talking to you again. This is the third year of the Woman Power Holiday Show. What made you want to start the event in the first place? Has it lived up to your expectations?

I started the WPHS for many reasons...to feature fantastic local female talent, to raise awareness about the problems facing women in our city, to connect music-makers and music fans to the organizations that are fighting those problems. Each year, we've learned more about how to run the event successfully. 

Last year, despite a snow storm, we raised a good chunk of change for Deborah's Place, a local women's shelter, and the vibe in the room was incredibly warm and giving and fun.  I've really come to look forward to putting on this show each year!

Q - What should people expect from this year's show? How did you go about choosing the bands for this year's show?

I'm really excited about the bands on this year's show. Since the organization we are benefiting is a theatre education organization, I decided to invite two bands onto the bill that are fronted by women who are active in Chicago's professional theatre community (as am I).

Fantastic singing, fantastic songwriting/arrangements/musicianship, fantastic stage presence.  These ladies know how to put on a show.

Q - This year's show benefits Global Girls. How did you hear about the group and how do you determine each year what group to help?

I found Global Girls just through word of mouth and Internet research. They have been wonderful, and are really partnering with us to make this show a success. Each year, I've tried to find a organization with a slightly different and but equally compelling mission... thus far, I've aimed for Chicago-based organizations (as opposed to national charities), and that's worked well. I like keeping it local.

Q - How are things going with your own group, Diana & the Dishes? What can we expect from the group in the coming year?

Things are going well with the Dishes! We were featured in an indie film this past fall (Teleporter Productions' "The View From Tall") which won't be coming out for some time, but which we're very excited about. In 2015, I'm hoping to keep building our local and regional presence, and ideally release a new record by the end of 2015. 

We have tons of new material we're working on, some of which we hope to reveal at this Schubas show. I so love the guys in my band... they're fantastic, thoughtful musicians (and hilariously fun people) and the more we work on material, the more I love 'em.

Q - What do you think of the Chicago music scene and where do you see yourself fitting into the scene?

Chicago's music scene is always bursting at the seams with more bands and shows than you could ever go see in a lifetime, and I love that. But I think it can be a tough nut to crack. 

I'm honestly not always sure where I and Diana & the Dishes fit into it. We pull from rock, pop, soul and blues, but also from folk, jazz, and cabaret, which I've found is kind of a rare breed of band in Chicago. 

But (for better or worse) we've never really concerned ourselves with being "hip," and we certainly love what we're doing and where we're going in the Chicago music scene and beyond. Also, I've unfortunately found that being a female-fronted band can make things more of an uphill slog. 

But my goal is that the Woman Power Holiday Show will keep doing it's part to show that women in this city can(/should/will continue to) rock, and should continue to demand everyone's attention, at the holidays and at every other time of the year.