If the name Chandler Travis means anything to you, it means a combination of dazzling musicianship and fearless merry-making – in his many incarnations, the man has developed a fiercely loyal cult following… and with good reason. Sage-like and impish at the same time, he explores the terrains of love and life’s absurdities with rowdiness, tenderness and a sardonic faith in humanity that never wavers. Plus he makes a habit of wandering around in the audience, mid-song, which creates an aura that’s hard to describe: we’re witnesses and co-conspirators in something that feels magical.
Last Saturday, he brought his Chandler Travis Three-O traveling road show to Troy for an afternoon stop at the River Street Beat Shop followed by an evening performance at the Ale House.
The Catbirds: Chandler Travis, Rikki Bates, Steve Wood and Dinty Child
Review by Fred Rudofsky
Photograph by Joseph Deuel
“Welcome to Rich and Denise’s Christmas party!” exclaimed Chandler Travis as he adjusted the microphone, strapped on his bass and smiled at his friends in the audience. It was time for the Catbirds to rock Valentine’s very foundation and for a guitar amplifier to warm up for its inevitable demise.
Twenty-six songs, spanning two sets, and all reverberating on the last real rock and roll venue in Albany on a Thursday night. Yep, you’re probably kicking yourself for not leaving the house.
Opening with “Everybody Christmas Time,” which fused the best elements of the Kinks and Rockpile, the Catbirds set the tone for the evening. Every song was like an unexpected gift, though the band was open to requests and “bequests.” Guitarist Steve Wood led the band through the tremolo-laden “Swamp Girl” like a ragin’ Cajun; Travis delivered “All I Wanna Know Is” like it was the hit it ought to be, complete with Rikki Bates swirling drum work. Guitarist-mandocellist Dinty Child stepped up for a spirited “That’s Right,” trading firecracker solos with Wood over a Latin beat.
The Catbirds’ influences are about as diverse as any in the land. T. Rex’s gem “Mambo Sun” was tipsy and wry; Mel Torme’s “Coming Home Baby” got a deft vocal round treatment; King Floyd’s “Groove Me” exuded beach music swagger; and Goffin and King’s “Another Night with the Boys” sounded like a honky tonk classic done in Shaver style. Equally stirring renditions of Love’s apocalyptic “7 and 7 Is,” Ronnie Dawson’s rockabilly juggernaut “Fish Out of Water” and John Lennon’s timeless, reassuring boot-stomper “Instant Karma” were like getting extra gifts in the Christmas stocking.
Yet the real treats were the originals that dominated the night. “First Warm Day” captured the essence of feeling a change in the weather, while “I Viborate” channeled the mayhem of Sun Records-era Jerry Lee Lewis. “Stoned” and “Are We Done Yet?” – both from the band’s recent short disc “Viborate” – were psychedelic garage-rock forays at their finest, awash with reverb, echo and guitar strings ablazing over thrilling drum patterns. “We Are New Men” wryly looked at the rapid, unforeseen technological shifts in our culture: “There’s a satellite above me/ That gives me tweets from David Duchovny.” Meanwhile, “Change the Names” and “Crutch of Music” showed off the superb interplay among the Catbirds as well.
You had to be there, trust me, just to smell an amplifier smolder at the end of the first set – now that’s rock ‘n’ roll. Look for a full-length cd release from the Catbirds in 2012.
Local favorites the Mysterios played a wonderfully raucous opening set inspired by sounds from the mid-1960s. Originals such as “Ed Wood’s Making Movies” and “Going to the Rodeo” were mixed in with choice covers from the Velvet Underground (“Rock and Roll”) and psychedelic pioneers the 13th Floor Elevators (“You’re Gonna Miss Me”).
NOTE: And by the way, Chandler Travis has already booked his return trip to Nippertown. He’ll be leading the Chandler Travis Three-O into the Ale House in Troy at 9pm on Saturday, January 21.
Chandler Travis (right) with his singing valet Fred Boak performing at Riverlnk Park (photo by Stanley Johnson)
Here are my Top 10 concerts for 2011. Not all were in Nippertown, and this list is not in any particular order:
The Chandler Travis Philharmonic @ Riverlink Park, Amsterdam The Hurricane Irene benefit @ Valentine’s Music Hall, Albany (Read his review) Josh Ritter/John Wesley Harding @ The Egg, Albany (Read his review) Paul McCartney @ Yankee Stadium, NYC Sonny Landreth @ Highline Ballroom, NYC Ray Davies @ The Egg, Albany Bela Fleck & the Flecktones @ The Egg, Albany The Spampinato Brothers @ Caffe Lena, Saratoga Springs (Read his review) Singer/Songwriter Night with M.R. Poulopoulos, Matt Durfee, Tom Lindsay & Michael Eck @ Riverlink Park, Amsterdam
SUPERSTARS? Well, of course they are. It’s The Ticks, performing their chamber version of Jesus Christ Superstar at last year’s Christmas Cavalcade Benefit for the Homeless. STEVE SWAIN PHOTO
Written by Chandler Travis
Benefit for the homeless is nearly a tradition
It’s almost time for the 7th or 8th Annual Cape Cod Christmas Cavalcade Benefit for the Homeless at the Jailhouse Tavern (28 West Road, Orleans; 508-255-5245) or at least it will be on Sunday, Dec. 18, at 7 p.m. Here’s a reflection or two:
Christmas is the lamest, most shameless, crass, inane, frustrating, blood-chilling, shattering holiday there is; also the most touching, mystical, and occasionally even noblest… it’s somewhere between suicide and a kick-ass good time, and the only holiday that comes with its own ridiculously extensive catalog of music, one that flaunts all these attributes and vices. Obviously, both the holiday and the music associated with it dote on the extremes of human endeavor, and encompass both the highest highs and the lowest lows. Which means you get Darlene Love singing “Christmas (Baby Please Come Home),” plus (or minus) the Wilder Brothers’ immortal classic, “I Want A Goat For Christmas.”
In short, Christmas is a workout, and so is the Cape Cod Christmas Cavalcade.
Even with virtually all of the performers held to a song or two each (except the Chandler Travis Philharmonic, in our capacity of hosts), the Cavalcade has grown, in its seven- or eight-year existence (perhaps one day we’ll figure that out more precisely), to Ben Hur-like proportions, lasting four hours and then some. Each year there are surprises -this year’s show brings the inimitable Zoe Lewis, Polka Dan’s Beetbox Band, Christine Rathbun, Gip Hoppe, and Tad & Kate from Sidewalk Driver to the fold for their Cavalcade debuts; welcomes back some old favorites in the Parkington Sisters, Kami Lyle, and Carla Kihlstedt (from Tin Hat) and her husband Matthew Bossi (among others); and counts on some hardy perennials like Bruce Maclean, Toast & Jam, the Rip-It-Ups, myself, and the Ticks (whose annual Christmas pageants are always particularly dazzling – last year, they did a Classics Illustrated version of Jesus Christ Superstar, complete with costumes!)
Not to mention Sarah Swain & the Swain Sisters; last year, it was Sarah and her (then) 5-year old daughter, Lucy, bringing the house down; this year, (now) 5-year-old) Jesse joins the crew (with a vengeance, I’m told.)
One of the other factors that makes the Cavalcade great is that it’s all holiday music, which generally means all the acts are performing music they very rarely get a shot at; chance is definitely a factor, as none of us are really walking on firm ground here. Folks get nervous, and the atmosphere’s kinda giddy. At this point, there’s almost a class reunion aspect – a lot of us are friends, and glad to see each other; coziness prevails; some drinks gets drunk; occasionally, a mayor is elected.
I don’t know, it’s cheesy, terrifying, gorgeous, horrendous, raucous, dreamy, and sentimental; a total nightmare to produce, but nonetheless still sort of a treat to myself and my friends at the end of the year, and at this point I’d hate to go a year without. And, oh, yeah, it’s also for a terrific cause, the NOAH Shelter in Hyannis, which receives every penny.
One of our most treasured holiday traditions returns to Johnny D’s this year, Thursday Dec. 15, the 7th or 8th Annual Boston Christmas Cavalcade Benefit for the Homeless. We asked its founder/leader/pajama-clad madman Chandler Travis what the season and the event mean to him and he e-mailed us: “Christmas is the lamest, most shameless, crass, inane, frustrating, blood-chilling, shattering holiday there is; also the most touching, mystical, and occasionally even noblest… it’s somewhere between suicide and a kick-ass good time, and the only holiday that comes with its own ridiculously extensive catalog of music, one that flaunts all these attributes and vices. Obviously, both the holiday and the music associated with it dote on the extremes of human endeavor, and encompass both the highest highs and the lowest lows. Which means you get Darlene Love singing ‘Christmas (Baby Please Come Home),’ plus (or minus) the Wilder Brothers’ immortal classic, ‘I Want A Goat For Christmas.’ In short, Christmas is a workout, and so is the Boston Christmas Cavalcade.”
This year’s paraded includes (of course) the Chandler Travis Philharmonic and Philharmonic Trombone Shout Band, Liv Taylor, Jen D’Angora, the Upper Crust, the Conolly / Conley Christmas Singers (with Mission of Burma’s Clint Conley and the Lyres’ Jeff Conolly), Merrie Amsterberg, Jennifer Kimball, the Darlings, Miriam, Shaun Wolf Wortis, Factory Seconds, Alastair Moock, Greg Greenway and the Athol Thingerth, plus one of our favorite groups, TBA.
Travis continues, “Even with virtually all of the performers held to a song or two each, the Cavalcade has grown, in its 7 or 8 year existence (perhaps one day we’ll figure that out more precisely), to Ben Hur-like proportions, lasting 4 hours and then some. Each year there are surprises -this year’s show brings the Upper Crust, Factory Seconds, and the Conolly / Conley Christmas Singers, Clint and Jeff, who have never performed together before now as far as I know) to the fold; welcomes back some old favorites in Jennifer Kimball, Livingston Taylor, Ramona Silver (among others); and counts on some hardy perennials like Merrie Amsterburg, Alastair Moock, Jen D’Angora, Shaun Wortis, and myself; hell, for the Philharmonic Trombone Shout Band and our chorus, the Athol Thingerth, this is the only gig we’ll play all year! This last, the Philharmonic Trombone Shout Band, is a particularly special annual Xmas experience, comprised as it is of 15 or so of Boston’s best and loudest trombonists, plus the immortal Mike Milnarik on tuba and and the CTP’s own Keiichi Hashimoto on trumpet, plus members of the CTP’s rhythm section. They can’t even fit on the stage, and the magnitude of the blast is always felt for days afterward.”
“One of the other factors that makes the Cavalcade great is that it’s all holiday music, which generally means all the acts are performing music they very rarely get a shot at; chance is definitely a factor, as none of us are really walking on firm ground here. Folks get nervous, and the atmosphere’s kinda giddy. At this point, there’s almost a class reunion aspect -a lot of us are friends, and glad to see each other; coziness prevails; some drinks gets drunk; occasionally, a mayor is elected.
“I don’t know, it’s cheesy, terrifying, gorgeous, horrendous, raucous, dreamy, and sentimental; a total nightmare to produce, but nonetheless still sort of a treat to myself and my friends at the end of the year, and at this point I’d hate to go a year without. And, oh, yeah, it’s also for a terrific cause, the Somerville Homeless Coalition, which receives every penny.”
Not that it all has to be bleak midwinter or determined revisionism. Sean Smith’s solo guitar version of Silent Night plays it straight, letting the original tune shine through sheer patience, giving each note, each transition its resonant place before moving on. The rest of the album on which that track occurs, simply titled Christmas, exhibits the same virtues. Oscar Peterson’s riotous God Rest Ye Merry Gentlemen, on the other hand, sparkles with joyful virtuosity without overstaying its welcome. Hark the Herald Angels Sing by Remedios the Beauty, from a Sonic Trout Records Christmas compilation, is just over a minute of light-hearted, playful bass and scat singing, but has more than its share of “songness” and brings a carefree tone that is, I think, not an entirely unfitting response to the original.
We’d like to add that the track is available for download, as is the full album. In addition, from now until the end of 2011 we are offering free shipping on orders of the actual CD (along with other Chandler Travis Philharmonic CDs and T-Shirts).
Chandler Travis made a Capital District stop, once again, at the Linda, this time dragging the rest of the Philharmonic with him. The last time in town – at Amsterdam’s Riverlink Park – they were missing their mandocello-accordion player, Dinty Child. All nine members made this one, albeit with a slightly different line-up. I have seen the Philharmonic several times, but I do not believe it has been the same line-up twice, as Chandler has a stable of fantastic musicians he can draw from in case someone can’t make the gig. Trumpeter Keiichi Hashimoto and pianist Cliff Spencer came along for the ride this time.
Anyone who has seen Travis knows that he possesses a dry wit that can border on hilarity, so it should be no surprise that he would have good friend Pete LaBonne along to warm up for him. LaBonne has that same sense of understated humor. He may not be quite as polished as Travis – possibly due to living in a small cabin in Upstate NY… without power – but he can be just as funny. LaBonne hit the stage to a chorus of “PETE… PETE… PETE,” which of course, he joined in on. As he ran through his short set, all the members of the Philharmonic left the green room and sat with the audience to catch it, a tribute to how they all felt about him.
Like Travis, it is very difficult to pin a music style label on him, but it’s clear from songs such as “100 Monkeys Typing” and “Hillbilly Coupe De Ville” that his songwriting lies delightfully off-center. He wasn’t going to let a balky guitar amp distract him too much; when Travis offered up his amp, he basically said fuck it and kept on playing, producing cheers from the audience. He did, however, borrow a familiar song from the Chandler Travis set list for the obligatory singer/songwriter sing-along, “Turning The Page”, but since he wrote it, I don’t think anyone minded.
The Philharmonic hit the stage dressed for the occasion – in PJs with their usual antics on full display. Just looking at the horn section (dubbed the June Trailer Dancers) jumping around between parts, you get the sense that they are not serious. You could not be more wrong. They take the music very seriously; just not themselves. They generally appear to be having as much fun as the audience. Many musicians are very good players, and others are good entertainers. The CTP is both. While taking a break from his valet duties, Fred Boak stepped up from his back-up vocals to be featured on “O Miserable Love” with the accordion, giving it an almost polka feel.
Again, trying to peg them into a particular style is really pointless as they can shift styles quicker than Travis can change costumes (which he does several times). “Mid Morning In Moscow” harkens back to the big band era with its heavy brass of Bob Pilkington on trombone and upright bass of John Clark, while “Where’s My Glasses” is beyond a label, but resonates with anyone over a certain age. (In fact I’m sure most of us have sung along to its opening line without even realizing it, “FUCK… FUCK… FUCK… I just had them on”). LaBonne came up and joined them for one of his songs, “Supermarket Employee,” also to the thunderous chant of “PETE… PETE…,” only by this time, more of the audience knew the words.
Throughout the show, it was hard to tell who was having more fun, drummer Rikki Bates or woodwind player Berke McKelvey, as their smiles never seemed to fade. This could also be said about the audience. While they ended up playing two encores, the second was done unplugged as the CTP strolled around the aisles of The Linda singing “Things To You” and “Goodbye.”
Review by Ed Conway
Photographs by Joe Deuel
THE CHANDLER TRAVIS PHILHARMONIC SET LIST
Ronald
Don’t Blame Me
My Father Met My Mother in New York
Where’s My Glasses
Suddenly Everything is Different
Make the Small Things Pretty
Did You Ever Know
Last Thing I Needed
Graciously
Mid-Morning in Moscow
Milk Truck on Fire
All My Good Luck Is Gone
Human
Supermarket Employee (with Pete LaBonne)
January
Get Ready for Freddy
O Miserable Love
Let’s Have Some Fun
Thanksgiving in Stoughton
Grand Route St. John FIRST ENCORE
Fluffy SECOND ENCORE
(unplugged)
Things To You
Goodbye
PETE LaBONNE SET LIST
Guest of Honor
Turning the Page
Toothy Ruthie
Hillbilly Coupe De Ville
We Rolled the Car
Pour Beer on Each Other ENCORE
100 Monkeys Typing
If he is, isn’t it surprising that such royalty would bring his minions of mirth to play in sleepy little Chatham at a Welsh pub that is as appropriate for music as a saddle is on a sheep? Ouch, okay, in the same breath let’s give proprietor Mr. Tom Hope credit for the decade of ongoing effort. I asked the venerable Mr Travis why he has returned with his compatriots for a third gig at the Peint O’ Gwrw.
“I dunno. It’s a fun venue – I we had a hole to fill in the schedule and made some calls.” This band likes to play. They don’t like spending a night off in a Super 8 motel somewhere. Besides, Tom provides excellent victuals along with liquid refreshments and a little bit of pocket money in exchange for The Chandler Travis Philharmonette giving the patrons of the Peint O’ Gwrw what they want,and that is a good time.
So here’s my first point – This is some crazy band. As someone involved in the Hudson Music Scene that’s a significant statement and I will qualify it. Hudson is used to noise shows, the sheer brilliance and idiocy of the Bunny Brains, Brian Dewan’s distorted autoharped spectaculars, Musty Chiffon, the Bindlestiff circus, the serious ghoulishness of Norway’s Thingumajig*saw and more. This impending configuration is a virtual plethora of parts of all the crazy bands involving the lunatic perspicacity of one Chandler Travis, international man about town and noted social disease. Let me tell you about some of the projects Chandler has been associated with The combo appearing next Friday, November 18 in Chatham will be The Chandler Travis Philharmonette which is a tidier and cuter version of the Chandler Travis Philharmonic. Wait, wait!I forgot to tell you the whole thing is a direct evolution from the popular 80’s band The Incredible Casuals which evolved from the comedic rock duo Travis Shook and Club Wow after they opened for George Carlin on Johnny Carson’s tonight show in 1978. The Casuals were sort of a popular rock band and were based in Cape Cod and were formed in 1981 by bassist and songwriter Chandler Travis, guitarist Steve Shook, drummer Vince Valium (also known as Rikki Bates) and guitarist Johnny Spampinato, brother of Joey Spampinato of NRBQ the members of whom popular local bass player Peter Toigo often gigs with. Chandler also has been known to play gigs as a solo act billed as Chandler Travis – King of the World! and a few members of the Philharmonic often get together to perform as The Catbirds a rock and roll project of which Chandler reflects – “If there weren’t so many crap noisy bands around, and so few good ones, there’s a chance the Catbirds wouldn’t need to exist.” and then there is the trio Chandler Travis Three-O .
Okay, so you’re thinking to yourself, – “Say I actually go out on a chilly Friday evening in Novenber to see these guys play – what can I expect?” Well I’m glad you asked.
Possibly the first thing you will notice will be Rikki Bates, distinctive, very tall amazing unforgettable drummer-in-a-dress.
Then there’s the bunch of maybe ruggedly handsome middle-aged musicians of various shapes and sizes some of them with horns and percussion devices, some with guitars and stuff, some just standing there. All of them dressed in bathrobes and pajamas. Why? I dunno. “Our stuff is not satirical,” Travis said. “It’s just silly and blissful. We specialize in joyful stuff. Don’t get scared because the words ‘comedy’ and ‘rock’ are in the same sentence.” As the evening progresses the re is the possibility of a regal coronal headdress attached to the now balding royal pate of the regal Mr. Travis – the King of the World. These guys dress pretty funny.
Fred Boak, “The Singing Valet” from Harwich Massachusetts will probably be there, he who was born in Manhattan and grew up in Poughkeepsie, N.Y. will tickle his tonsils for your listening pleasure.
You can also expect some of the best song writing on the face of the earth. It is interesting, though not surprising due to the members many years of travelling and playing on the road this unique mix of sloppy appearance and professional attitude is a blueprint for expertise, the Chandler Travis Philharmonette is one of the few bands that can read the sonically difficult room that is the Peint O’ Gwrw and keep their volume at a level where the lyrics are easy to understand. Inspite of this, make no mistake about it – this is quite an experienced band of rock musicians and they are not about to let their unique sound get not lost in an overuse of volume.
Not convinced? Here’s what the professional critics have said about Chandler’s many incarnations – really these writers do this for a living, they get paid to write this sort of thing.
“He’s a true New England eccentric, a master of daft power pop, and live, he plays in his pajamas…” — Rob Tannenbaum, Village Voice
“…these musicians have got serious chops, as well as a really twisted sense of humor. The Chandler Travis Philharmonic is more fun than a barrel of pancakes.” — Greg Haynes, Albany Times-Union
“Travis treads a fine line between chaos and genius. … But even when he was just making noise, it sounded like beautiful music.” — David Hiltbrand, Philadelphia Inquirer
“…first time I ever saw a trumpeter receive a pizza delivery onstage, eat a slice in two bites, and turn the plate into a mute before the song was over.” — Sally Eckoff, civilian
Okay, I’ll agree… the reviews are kinda useless let’s try a few review comparisons (a popular tool of contemporary music critics) that have been used in describing some recent shows -
The Kinks, the Beach Boys, Ringling Brothers, Burt Bacharach, Mose Allison, Gregory Corso, the Sun Ra Arkestra, Mardi Gras, Randy Newman, Dixieland, Avant-Jazz, Jonathan Richman, XTC,Louie Jordan and my personal favorite – “ Travis is a rock-n-roll Brittanica .”
Wow. I like all that stuff, all those people, but the doesn’t paint an accurate portrait of the brilliant madness of the Chandler Travis Philharmonette. You might just want get yourself out to the Peint O’ Gwrw next Friday and see for yourself
By Rob Caldwell, Musica/Notes From the Grid
Notes From the Grid is a bi-weekly column about the Columbia County music scene written by Rob. It is featured every other Friday in the “On the Scene” supplement of the Hudson Register Star.
Album Review: ‘Chandler Travis Philharmonic Blows!’
Lori Alamia
11/6/2011
Do you think all philharmonics are classic and traditional? Think again.
The Chandler Travis Philharmonic is a nine piece ensemble of musicians out of Boston. With a name like Philharmonic, it would be easy to assume that they are a sophisticated bunch offering up strictly classic music. Well, think again. CTP’s most recently released album is called Chandler Travis Philharmonic Blows!
With a crazy title like that, expect the music and the members to follow suit. From photos on their website, you can see that they dress rather eccentrically and don’t seem to take themselves too seriously. Despite the humor however, they are accomplished musicians who are just inviting us to have fun along with them. CTP has a horn section, string bass, keyboard, a mandocello (a bigger version of a mandolin), guitar, drums, an accordion and singing valet – Fred Boak.
For the first track on their album, “Mid-Morning in Moscow,” you feel like you should be dancing or at least sipping a cocktail in a swanky supper club somewhere. This primarily instrumental piece has lots of sexy sounds from the clarinet, trombone, french horn and bass. It is one of my favorites as it represents all that is wonderful about jazzy, big band type music.
The rest of the album that follows is a scattered collection of songs from various genres that fall under their description as being “alternative Dixieland and omnipop.” Once I heard them sing, I likened it to combining Louis Armstrong’s All Stars with the musical humor of They Might Be Giants. It’s hard to anticipate exactly what to expect as you let the unique album play through, but I recommend just going along and enjoying the ride.
Here is an overview of the rest of the songs:
Track 2: “You and Me Pushing Up Daisies” has an Irish feel with amusing lyrics.
Track 3: “Graciously” is another personal favorite as it has upbeat jazz piano and a swinging beat.
Track 4: “All My Good Luck Is Gone” has a country feel and funny lyrics.
Track 5: “Fruit Bat Fun” Have you heard of the song by Duck Sauce “Barbra Streisand”? They just repeat Barbra Streisand and you wonder why. Well, during the catchy little rhythm in this song, “Fruit Bat” is repeated every so often resulting in nonsensical fun.
Track 6: “Anne” is another country feeling tune that also uses humor as most of their songs do.
Track 7: “Work It” takes a different twist as it captures some island rhythms.
Track 8: “The Day the Casuals Went to Sweden” tells a story as the song title suggests and sounds more like speaking in tune than singing.
Track 9: “Tomatohead Blues” is another instrumental song that utilizes great horn playing. Track 10: “The Number Song” sounds like a children’s music song that They Might Be Giants might have done.
Track 11: “Taoist vacation with Mashenka” has smooth jazz sounds with lots of sax.
Track 12: “Everything Can Go Wrong” is another jazzy track with plenty of bass as well as accordion accompaniment.
Though, “everything can go wrong,” Chandler Travis Philharmonic has definitely done something right on this fun, zany musical journey.
Chandler Travis is on tour. This is not at all unusual, as he has been a traveling “writer/song-singer” (his words) for the better part of 30 years, with varying levels of success. He’s slipped in and out of various bands and guises, from the Incredible Casuals’ straight-ahead rock ‘n’ roll to the eclectic, experimental Chandler Travis Philharmonic, and his more subdued though no less peculiar solo recordings. It can all get a bit confusing to the newcomer, but there are a few accessible entry points. Travis recommends Let’s Have a Pancake, the Chandler Travis Philharmonic’s first record.
“There’s something about a band in its honeymoon period that is always special,” he says. “My favorite Casuals record is probably That’s That, again the first one.” He is in this regard absolutely right, as Let’s Have a Pancake is a minor classic, featuring many of Travis’ strongest songs played by a skilled band more than willing to follow him down whatever twisted paths he chooses. There are moments of Latin rhythm backed by Dixieland horns, accordion-based ballads that open with funereal horns, and plenty of the off-kilter humor that informs Travis’ best work.
Over his lifetime in the music business (in addition to the bands helpfully listed above, Travis runs his own record company, Sonic Trout), Travis has lived through to the seismic shifts we’ve all observed from the sidelines. What is the biggest single change he’s noticed? “Records disappearing comes to mind,” he says. “When I was growing up, we went through Elvis then the Beatles. Everyone was on the same page. In the ’60s, when ‘Satisfaction’ or ‘Lady Madonna’ or ‘Sunny Afternoon’ by the Kinks came out, everyone was buying that record. Now, it’s much more segmented. It’s great for variety, but something about the communal vibe is gone from it.”
These days, he says, it’s easier than ever to put your music in front of masses of people, but considerably harder to get anyone to care. “Music seems to be much less a central part of people’s lives. When I was young, if you went to a store you didn’t necessarily hear music there. Now if you enter a restaurant or an airport, there’s music. They’re throwing music at you at all times, and I think it devalues music in general.” But Travis keeps on toiling against that apathy, largely because he can’t seem to stop. “If you need to do this because it gives you joy, you stick with it. It’s a tough way to make a living, but I wouldn’t trade it for anything in the world. Most of the world is doing some occupation that means nothing to them, so it’s an honor and a joy to do what you love. But if you want to raise a family, good luck.”
Travis and his longtime partner Steve Shook performed under the Travis Shook and Club Wow moniker for the better part of the ’70s and ’80s, opening for George Carlin for a decade. “We did that for so long, you get into a little routine,” Travis says. “When we first met George we were all young, doing the crazy stuff that people did in the early ’70s, but we worked through that. We opened for him for 10 years exclusively. You meet a lot of comedians who are doing their act all the time, even offstage, and George wasn’t that. We shared a lot of interest in record collecting. He was an easy person to be around, a straight shooter.” In an age where comedy and music are intersecting in more and more fascinating ways —see David Cross’ Let America Laugh, The Best Show on WFMU, or the Comedians of Comedy for the modern incarnation — it’s interesting that these guys were blending absurdist comedy and rock n’ roll 30 years ago.
These days, Travis keeps busy with yet more side projects. His garage rock project, the Catbirds, has a solid EP under its belt and a long-player scheduled for release soon after the current Philharmonics tour comes to a close. And he continues touring. “Art is not a career designed for getting rich,” he says. “We were lucky enough that for a few decades we could make a decent living, but now it’s back to normal.”
Normal, of course, being a relative concept.
The Chandler Travis Philharmonic plays Le Bon Temps Roule on Friday night and Chickie Wah Wah on Monday.
One of our most treasured holiday traditions returns to Johnny D’s this year, Thursday Dec. 15, the 7th or 8th Annual Boston Christmas Cavalcade Benefit for the Homeless. We asked its founder/leader/pajama-clad madman Chandler Travis what the season and the event mean to him and he e-mailed us: “Christmas is the lamest, most shameless, crass, inane, frustrating, blood-chilling, shattering holiday there is; also the most touching, mystical, and occasionally even noblest… it’s somewhere between suicide and a kick-ass good time, and the only holiday that comes with its own ridiculously extensive catalog of music, one that flaunts all these attributes and vices. Obviously, both the holiday and the music associated with it dote on the extremes of human endeavor, and encompass both the highest highs and the lowest lows. Which means you get Darlene Love singing ‘Christmas (Baby Please Come Home),’ plus (or minus) the Wilder Brothers’ immortal classic, ‘I Want A Goat For Christmas.’ In short, Christmas is a workout, and so is the Boston Christmas Cavalcade.”
