Chicago band Mooner bringing melodic power pop to Schubas Tavern

 

By ERIC SCHELKOPF

Chicago band Mooner's Americana-tinged power pop demands attention.

The band, www.moonerband.com, recently released "Making Americans," a song recorded by Mike Hagler, known for his work with Wilco and Neko Case. Mooner will perform Jan. 4 at Schubas Tavern, 3159 N. Southport Ave., Chicago.

Shiloh and Innkeepers also are on the bill. The show starts at 9 p.m. and tickets are $8, available at www.schubas.com.

I had the chance to Mooner frontman Lee Ketch about the new single. 

Q - Great talking to you. In recording the single "Making Americans," what were your goals and do you think you achieved them? 

My brother David, who used to play guitar in the band, moved to Belgium at the end of this summer and we wanted to document one of his songs "Down on Marston Blues" (the b-side to the single) before he left. We also didn't yet have any recordings with our new keyboardist, Steve, and bassist, Taylor. 

We  recorded, mixed and mastered both the single and the b-side in two days, and it was very intense trying to get a sound we were happy with that quickly. When you're working on a budget, as we always are, you have to be able to make decisions quickly, know exactly what you're going to play, when to cut something that isn't working, etc.

Working under the gun can be good because you you usually get a leaner product in the end.
  

Q - How did you hook up with Mike Hagler and what do you think he brought to the recording process? 

We found Mike and his studio Kingsize by asking around about quality studios. The live room has 40-foot ceilings of steel and concrete and everything you put in there sounds magical.

Mike makes drums sound huge. He has an amazing selection of vintage amps. He's worked on records for some local heroes like Bobby Conn and Wilco.

It's amazing to watch him work. To me, it looks like he just haphazardly throws mics in front of the amps and drums but then when we go up to listen to the takes and everything sounds perfect.

He also knows what to do to keep the sessions moving.  There's not a lot of sitting around.

If someone has an idea, we're able to try it a few minutes later. He's totally affordable and works super fast.

I can't imagine going anywhere other than Kingsize. I wrote a more detailed report of the session: http://www.reddit.com/r/Mooner/comments/1gmawu/0619_recording_a_single_at_kingsize_sound_labs/

Q - It seems like there should be a story behind the band's name. Is there? Do you think the name has garnered interest in the band? 

My then girlfriend/now wife and I were driving around Clackamas, Oregon and she suggested it after I said I wanted an "-er" name like Weezer. I wanted a name that was evocative but still abstract enough so that when people think of Mooner they just think of the band.

When you say Weezer you don't think of a guy who wheezes, you think of the band. Same with Wilco, it used to mean farming suppliers, but now everyone knows it as a rock band.

I like how the name is kind of ridiculous but also has a dreamy, weird quality to it.

Q - Who are the band's biggest influences and how do you think they have influenced your music? How do you think Mooner's music has evolved since forming in 2009? 

Everyone in the band has diverse musical interests and I think that's really cool. I like Warren Zevon, Wilco, Weezer and death metal. 

Our guitarist John is a Neil Young devotee. Adam is the biggest ELO fan you'll ever meet and likes Hum and 90s guitar bands.

Steve likes Randy Newman, Fiona Apple and a lot of other singer-songwriters. I can only think of a few bands Taylor likes.

I know he turned me on to Kylesa and I'm for that I'm grateful. 

The band has changed membership so many times that it's hard to keep up with how the sound has changed. My brother David leaving the band this year has caused a big shift.

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There aren't two songwriters any more. John's guitar playing is very different from David's.

Steve joining on keyboards has expanded our palette quite a bit. Taylor and Adam, who have been playing together for years, are one of the best rhythm sections in Chicago.

I'd say in general we've become a better live band and I've learned to put the songs together with lots of input from the guys as opposed to simply writing all the parts and having the band play them, like I did in the past.  

When I started writing and recording music, it was just me playing all the instruments and recording myself. It's taken some time for me to learn how to write for and trust a band.

Q - What do you think of the Chicago music scene and how do you see Mooner fitting into it? Does the band have any favorite venues to play? 

Growing up, "Chicago music" was always synonymous with Wilco. They are probably our biggest influence, so I guess we fit that highly subjective, narrow definition of the Chicago scene.

As for venues, I love playing Schubas, where we'll be playing on January 4th.

They have great sound and an amazing history. Cole's is one of my favorite stages. It's one of the few bars in town with a built in audience -- people come whether they've heard of the band or not.

I may be biased, because a drunk dude once came up to me after a show there and said, "You guys sound just like "Summerteeth!" 

We finally got to play the Hideout a few months ago. I've seen some of my favorite artists there, so it felt really cool to be on stage.

They also have excellent sound. We released our last EP at the Empty Bottle around this time last year and that was one of the best shows we've played.   

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

We want to record our first ever LP!  Come to a show and buy a T-shirt so we can afford to, please.

I wrote out a list of goals in a notebook at the start of the year with things like "play WGN Morning Show," but that list has changed many times since then. When opportunities come up, you take them and then re-evaluate afterwards.

When nobody cares who you are, you can do whatever you want!

"One Night Only" bringing new musical every night to Chicago audiences

By ERIC SCHELKOPF

It's one thing to stage a musical. It's quite another thing to create a new musical every night.

That's exactly what the cast of "One Night Only" is doing. Audiences are treated to a improvised musical each night based on their own suggestions.

"One Night Only" opened on Dec. 17 and will continue through Dec. 28 at Stage 773, 1225 W. Belmont Ave., Chicago.

Showtimes are at 8 p.m., and tickets are $15, available by calling 773-327-5252 or at www.onenightonlynyc.com.

I had the chance to talk to "One Night Only" producer and creator Michael Girts about the production.

 
Q - Great talking to you. How have your openings days gone?
 
Our first two shows were fantastic! Our audiences gave us some really fun suggestions, and the cast hit it out of the park. 

On Tuesday, they improvised "DON'T KILL THE CAT: THE MUSICAL," which told the story of an army of cats invading a city where everyone is allergic to cats. 

And last night, our suggestion was "RIGHT PLACE, WRONG TIME: THE MUSICAL"  – which told three intersecting love stories. It also featured singing-and-dancing cuckoo clocks. Last night's show was one of my favorite musicals yet.
 
It makes me sad that we'll never see either of these musicals again... but that's why we call it One Night Only.

Q - Have you been getting good suggestions from the audiences? Will you act upon any suggestion, or are there some topics you won't tackle?

 Yes, I'm constantly thrilled with the great suggestions we get from people. I think people are attracted to One Night Only because they get to participate in creating the musical, so they tend to give us great titles for made up songs they really, really want to see. 

They feel a part of it, so they don't try to mess us up.
 
We'll tackle pretty much any topic. The only time we tend to decline a suggestion is if we've already had it before. (The cast is tired of doing cat musicals.)

Q - What's the hardest part of doing improvised musicals?
 
We have a very complex but rewarding structure. At the top of our show, we improvise a sung overture using the song titles the audience gives us.

Then later in the show, we reprise those very same songs. Our actors have to create a brand new song, and then 30 minutes later they have to remember and repeat a song that didn't exist 31 minutes ago.
 
The actors make it look easy. But it's hard! 

As Tom Hanks once said, "It's supposed to be hard. The hard is what makes it great."
 
Q - What made you want to be part of this project?
 
I'd been studying and creating musical improv with The Second City and other Chicago theaters for years – and loved it – but I'd always wanted to find a way to up the ante.

Then in 2012, I had the opportunity to pitch a show to a Broadway production company called The Araca Group. They produced shows like "Wicked" and "Urinetown." 

I decided I wanted to show them how great an improvised musical can be, so rather than pitching them with a Keynote presentation, I recruited my favorite musical improvisers to make up a spontaneous musical in The Araca Group's conference room.
 
It worked. They loved it, and they selected us to appear Off Broadway. That's how "One Night Only" was born.
 
Q - It seems like musical director Mike Descoteaux is the perfect person to be part of the production, having composed 1,000 improvised musicals. What does he bring to the table?
 
This show wouldn't be possible without Mike Descoteaux. He'll be embarrassed that I'm saying this, but he's the best music director on the planet. 

The way he weaves together memorable melodies, all while recognizing what the show needs thematically and comedically, is truly unparalleled. Chicagoans should come to see this show for Mike D alone... before he returns home to Boston!
 
Q - How did you go about putting together the cast? What criteria did you use in choosing the cast members?
 
Honestly, I'm working with my comedy heroes. This was a project ambitious enough and with enough stature to approach all the people I most wanted to work with. 

Our director TJ Shanoff is one of the most accomplished comedy guys in the city. No one I know has his vast knowledge of musical theater history combined with a knack for broad yet smart comedy. 

Watching TJ and Mike D lead these guys in rehearsal is like sitting in a masters class. They make the whole thing go.
 
To cast "One Night Only," TJ and I knew we needed the right mix of people. People who are not only fearless and funny, but also have the vocal talent and the dramatic sensibility to create spontaneous musical theater. 

Our actors can land a moment just as hard as they can land a joke.
 
Kate Cohen, Matthew Van Colton, Katie Dufresne, Nicole Hastings, Andrew Knox and Kate McGroarty are the most talented musical improvisers I know. Also, I consider them all dear friends. It was easy to cast them... I'm just relieved they keep saying yes.
 
Q - You are also part of the cast along with being the producer. Is it hard to do both? Do you desire to be both on the stage and behind the stage?

It's really hard to do both. We grew the cast this run in large part so I didn't have to play every show and could focus a little more on my producer responsibilities.
 
I love being on stage. I consider myself an actor first. 

But I tell young improvisers all the time: your favorite projects will inevitably be the ones you make happen on your own. My friends and I have shaped "One Night Only" to be exactly the kind of show we wanted to create. 

You have to do some behind-the-scenes work to make that happen.
 
Q - After "One Night Only" closes, what's next? Do you have any dream projects? 

Here's the thing: "One Night Only" is my dream project. And when we close this run at Stage 773, my hope is we find a way to do it again and again and again.

Chicago radio legend Larry Lujack dies

Larry Lujack passed away Dec. 18 following a battle with esophageal cancer. Rest in Peace, "Uncle Lar." Your voice will always live on.

Chicago musician Derek Nelson bringing new band, Martin Van Ruin, to Lincoln Hall

By ERIC SCHELKOPF 

Chicago singer-songwriter Derek Nelson has been garnering acclaim since he first burst onto the scene in 2009. 

Now Nelson, www.dereknelsonmusic.com, has a new project that will likely generate a large following - the band Martin Van Ruin, comprised of members of Derek Nelson & The Musicians, Jenny Dragon and Planetsexploder. 

Martin Van Ruin will celebrate the release of its debut album, "Every Man a King," by performing Dec. 20 at Lincoln Hall, 2424 N. Lincoln Ave., Chicago. The album was recorded and engineered by Neil Strauch, known for his work with Bonnie "Prince" Billy and Iron and Wine.

The show starts at 9 p.m., and tickets are available by going to www.lincolnhallchicago.com.

I had the chance to talk to Nelson about his latest musical project.

 
Q - Great talking to you. Of course, your new project Martin Van Ruin, will be releasing its debut album, "Every Man a King," on Dec. 20. In putting together the band and CD, what were your goals and do you think you achieved them? What is the meaning behind the project's name?

Our goal was just try to make something that we would really like to listen to, and take whatever direction felt right as a group. The final album turned out be the sound we had in our heads, and Neil (who produced it) had a lot to do with that. 

The name is just a weird historical reference. It's what they called Martin Van Buren when the economy tanked.



   
Q - Do you have any favorite tracks on the new CD? What songs are you looking forward playing live?
 
We're looking forward to playing it all. I really want to do the songs that can show off a lot of the layers of the new sound. Songs like "Wilderness" and "Gold and Love and Gin" come to mind.

Of course, you will also be releasing your latest solo EP, "Missouri," on Dec. 20. Is it just a coincidence that you are releasing the two CDs at the same time? Which do you consider your main project?
 
Nah, it's not really a coincidence. I recorded a lot of the solo songs in the middle of sessions for the MVR album. MVR is the focus, and is something new and very important to me. But I'll never stop writing and recording solo songs.





Q- Do you see Martin Van Ruin and your latest solo album as showing off your different musical sides? How would you compare the two albums lyrically and musically?
 
I'd say they're completely different. All the MVR songs are written collaboratively with six other people, and were written in a different state of mind altogether. I wrote most of the solo EP in my head when driving back and forth from Missouri, and it keeps that sparse feel. But there are common threads between the two.

Q - I understand that you only played your first gig in 2009. Is it especially gratifying then to be named as the "top band to see at Taste of Chicago?" How would you say your music has evolved since you first started?
 
The process is a lot more open now. I like writing songs with other people more than by myself.

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

 I think the music scene has gotten a lot more helpful to one another in the past couple years, and the barrier to entry is lower, which is a good thing. There are things popping up like the Chicago Songwriter Alliance (by Tom Schraeder, Gabe Liebowitz, Donne Biggins, Ryan Sweeney) where talented people can get up and play good shows without having to worry about draw or name recognition or any of that. 

It's a big step in the right direction, because it'll be about merit and songs instead of all the other stuff that doesn't matter.