December 28/06 Recap

There was a bit of a post-Christmas hangover vibe at the Railway this time around. Having said that, it turned out to be a decent-sized crowd; even the middle tables started filling up.

Dustin Rilcoff, aka Jack Freelance, roused himself from his sickbed to start the show off with a well-received two-song set. He was followed by the Shockker, in Interior Design guise.

Let me digress for a moment. I saw a movie over the holidays. It’s called ‘Sideways,’ and it’s about these two guys who go on a week-long road trip through California’s wine country. In one scene, the lead character, a keen wine aficionado, swills down a glass of Pinot Somethingorother.

“Quaffable,” he says “But hardly transcendent.”

Interior design has a CD out, and it’s transcendent. I tell you, this is a suberb record. It’s a Dom Perignon, 1953. This CD has the potential to be a soundtrack to your life for the next few years.

Anyway, back to the Supper Show.

After a four ‘song’ Interior Design set, it was time for 21TR. They (er...we) started with a somewhat perfunctory ‘Failure,’ followed by a similarly serviceable ‘Ditchpig.’ Super Robertson grabbed his bass for ‘Sanctuary,’ which was spiced up by Marjorie Robbins, and the classic ‘Bicycle Story.’ And then Fireman came up for a bit of a horn jam, which he brought to a close with a nifty and frantic flourish.

As Supper Shows go, it was quaffable.

But hardly transcendent.



W. Black.

December 22/06 Christmas Show Recap

No Wednesday Supper Show this week. Instead, a Thursday Christmas feast, featuring Solomon Standing, 21TR, Mongoose, and the Family Stump.

All in all, a four course meal, with the various musicians on hand offering up more chops than a butcher shop.

Le t's switch metaphors...

Like the national hockey team, steeped in depth with four solid lines, each band made an impression on its shift; each turning over to bring a different character and dimension to the game.

The crowd was solid all the way through the night, and sporting as much joie de vivre as the entertainers. It was a classic Railway mix, at times grooving in bunches in front of the stage, at times swelling on their feet to catch the action, and somtimes just sitting back, enjoying the tunes.

On the whole a great night. Thanks to all who came out.

December 14/05 Recap

A decently-sized and amiable crowd, their mood due partly to the holiday season and partly to being extensively plied with cream horns and peanut butter cookies.

The night starts with a SuperSimian duet. A nicely-delivered rendition of ….. (can't remember the song name).

Next up; 21TR. Shockk on drums. A solid enough set, highlighted by a Jack Freelance-fronted 'The Curtain Draws,' and sent off the rails a little by a weightless 'Bengal Tiger' and amphetamine-paced 'Fuse-Lit Bombs.' Frontman Super Robertson also decided to make a song up on the spot, which caused less consternation among his bandmates than usual.

After that, Willingdon Black and the Snake Island Salvage Company. A somewhat new feature to the Supper Show, featuring ACM as Bass Whisperer, with Super Robertson on Drums and the Shockker on guitar. Powered with some superb bass grooves (one of which was an excerpt from Rob 'Mule' Hughes' 'Saturn and the Beautiful White Devil'…we won't play it again without his permission). Jack Freelance offered up some nice rapwork, with Pockets contributing her usual canny insight. Fireman, the local music scene's own Rasputin, approached the stage, horn in hand, but was stopped at the 'door' by bouncer/drummer Robertson. The Fireman was, however, was allowed to deliver a re-cap of his own Flying Monkey's cult gathering, which took place the previous Saturday.

After that, there was an excited murmur in the crowd.

"That looks like Roadbed," said a voice.

"It is Roadbed!" said another.

And indeed it was. Super, Shockker and Sim on stage for a brief set of 'Gibbering Fool' and 'Provincial.'

Super Robertson complained afterwards of bass problems during the set, but it all sounded good out in the crowd. It was speculated by experts that Robertson's Fender Stu Hamm Signature Bass was simply acting up, having been so recently and expertly handled by Willingdon Black. When back in the hands of its owner, the bass rebelled by hurling itself at stationary objects and refusing to play in tune.