ATLRetro

By Geoff Slade
Contributing Writer

Cowboy Mouth hits The Loft on Fri. Sept. 23. The New Orleans-originated band got its start in the early ‘90s, and their biggest hit was released on a major label a few years later. But Cowboy Mouth ain’t just about turn-of-the-millennium nostalgia, as anyone who has seen them perform will tell you. They are, and have been from the beginning, an incredible and incredibly compelling live band. They have toured constantly, playing thousands of shows in front of millions of fans over the past quarter century.

Lead singer/drummer/wild man Fred LeBlanc says there is an energy from the audience that defines the band as much as the people on stage. Fans traditionally throw red spoons and Tootsie Rolls at the band on lyrical cues in the songs “Everybody Loves Jill” and “Hurricane Party,” respectively.

The current line-up consists of original members LeBlanc and guitarist John Thomas Griffith, and Matt Jones (guitar) and Brian Broussard (bass). ATLRetro grabbed Kool Kat of the Week LeBlanc for a few minutes last week to get the inside scoop on this week’s gig and what’s up with the band.

ATLRetro: Thanks for taking the time to chat with us. How’s the tour going so far?

Fred LeBlanc: So far, it been going really well. But we’ve always been fortunate to have a healthy touring life. As any CM fan knows, the live setting is where we really shine. I like to think so anyway. I hope so!

It looks like you’re touring the Southeast throughout the Fall. Every performance is unique, of course, but will fans in Baton Rouge and Orlando see completely different shows than the ones here in Atlanta?

There are some similarities as far as energy flow and also, you have to play the songs that people want to hear. I’d probably be in a lot of trouble if we didn’t play “Jenny Says” or “I Believe.” Fortunately I still really enjoy playing those songs—not just for my own enjoyment but also for what those songs mean to our audiences and what they seem to get out of them. It really is still quite a buzz to see large groups of people howling out their frustrations or fears by singing “let it go, let it go!” But at the same time every show is its own unique experience. It HAS to be! You never really know what’s gonna happen at one of our shows. Hell, I don’t even know what’s gonna happen—and I’m the lead singer! As much as you try to guide the show in a certain direction, it has a life of its own ultimately. I just try to keep the joygasm that is one of our shows chugging along. I’m just as much of a rider on this train as anyone.

You’re from New Orleans. Did that city’s deep musical tradition influence your own work?
It’d be difficult for it not to. The influence of the city permeates every single aspect of this band; always has, always will. That’s not to say that that influence is limited to what the general public perceives New Orleans to be, per se. The character and vibe of the city is ever changing, and that’s not a bad thing at all. There have been many changes to New Orleans since Katrina 10 or so years ago, predominantly I believe for the better. It’s not the same place it once was, which was this awesome little secret that not many people paid attention to.

I saw an article recently that described modern day Nola as “hipster” central. Like I said, I don’t think that’s a bad thing at all. The economic revitalization has been enormous and the older generations are always complaining about the younger and vice-versa, that’s just life. There’s so much to learn from all viewpoints, but I’m going off on a tangent… Simply said, there’s a joy of life that has always been a common thread through the experience of living in New Orleans and hasn’t changed in all the years that I’ve known and loved the city. It’s almost defiant, but in a very celebratory way. The defining musical and cultural aspects might change specifics every few years, but it’s the vibe and the feel that make it what it is. We could’ve never come from anywhere else.

Are you working on anything new? Any plans to?

We’ve just put out a “best of…” collection called THE NAME OF THE BAND IS… that I’m really proud of. The songs you know, plus a few new ones, all in one place. People seem to love it. You can find it online or at the shows. Also, I’ve got a children’s book called  FRED, THE NEW ORLEANS DRUMMER BOY coming out thru River Road Press in October. It’s kind of the attitude of a CM show, but in kids book form. I’m sure we’ll have a link through our social media. 

My friend and local musician Matt Mitchelson is an enormous Cowboy Mouth fan, so I asked if he had any questions I should ask you. “Uh…only 1,000,” he said. Here are a few:
Tell your friend Matt “hello and thanks for the questions.” 

Cowboy Mouth’s live show sets the standard for me and many of my friends. Who set that kind of standard for you before the band?

I guess my main performing influence came from the black gospel churches I knew of from my youth. Growing up Catholic, and dealing with all the crap from that, I was always attracted to spiritual experiences that were as much cleansing and uplifting as they could be spiritual. When I saw how the Baptist black experience was a lot more of a cleansing celebratory thing, I decided then and there that that was what I wanted to do. Everything else extends from that.

Which artifact of your fans’ rowdy adoration has generated a better story—perhaps when one or more of those artifacts ended up in an inexplicable place—a red plastic spoon, or a tootsie roll?

Every once in a while somebody will show up with a giant oversized red spoon. I’m always hoping that they won’t throw it, but they usually do. And usually at me. In fact, ALWAYS at me!

The lineup has changed a good bit over the years, and I think we’re coming up on 10 years since the split with Paul Sanchez (damn…still so hard to believe!). But you and Griff have been in it together from the beginning. What have your collaborations with other bandmates brought out in you two, and what remains unchanged in the band?
The ENERGY is constant. Always has been, always will be. That’s what the show stems from, and that’s what I think the fans have been responding to most of our entire career.  People leave our show feeling great, and that’s exactly what I wanted to do, both as a person and a performer. You ‘re always responsible for what you put out to the world and how it comes back to you. I just wanted to make sure that whatever I did with my life, my tiny insignificant corner of the world could potentially be a little better off simply because I was here. A lofty goal, but why not?

Is there one venue that stands out above the rest, where the show has a little extra energy every time (so I can book my ticket now)?

Not a specific venue as much is a vibe; Mardi Gras and Jazz Fest are my two favorite times of the year. Being from New Orleans, how could they NOT be? We do a giant New Year’s Eve event every year now in New Orleans as well called “Big Night New Orleans” that is becoming a huge deal every year that passes. Folks should make the road trip, it’s totally worth it. Basically, anytime I get a chance to play New Orleans, I’m happy.

What’s the most pleasantly surprising gig you’ve ever played? Has there been one that you’d thought couldn’t go well but did?

We played over 3000 gigs in the entire history of this band. I always try to make whatever the next gig is a surprise or challenge in some way, just to keep it interesting for myself as well as the band. You don’t want the experience to grow stale from any perspective on any level. It’s never about the last gig, or any past show, it’s always about the next one.  

Which one is a greater challenge: a night when you have to dig deep for enthusiasm and energy in yourself, or when you come up against an unexpectedly flat audience? (trick question: neither has ever happened!)
I can honestly say that no audience we have ever played for has ever been flat. I just can’t remember that, if it did happen. As much as anything, it’s a matter of perspective. I want an audience to give everything it can, but at the same time you can’t expect things from them that they’re just not capable of giving. Appreciation from our perspective leads to enthusiasm from them, and vice versa. That’s one of the many secrets of doing what we do, and doing it hopefully well.

Anything else we should be sure to mention?

I think we covered it all! If you can think of any other questions, please feel free to ask.

Thanks again for your time. We’ll see you guys Friday at The Loft.

It’s going to be a fucking ball!

Doors at 7, show at 8. Click here for ticket info.

Photo by Sharon Pye

by Melanie Crew
Managing Editor

Genre-bending Atlanta newcomers, Darcy Malone & The Tangle hail from the Big Easy, and plan to dish out rockin’ soul at Smith’s Olde Bar this Saturday, March 5! It’ll be a night of sizzlin’ rock ‘n’ roll chock full of New Orleans nostalgia twisted with a bit ‘o jazz, pop-rock and everything in between! Janglin’ it up with The Tangle will be indie folksy pop chanteuse Joanna Duff and Athens rock quartet, Southern Bred Co.! Doors at 9 pm.

Darcy Malone & The Tangle [Darcy Malone (lead vocals); Jagon Eldrige (sax-keys); Chris Boye (guitar-vocals); Glenn Newbauer (guitar); Craig Toomey (bass-vocals); and Billy Schell (drums)] began dishing out their brand of swampy rock ‘n’ soul in 2013. With a debut album releasing at the end of the month (STILL LIFE), produced by Rick Nelson (The Afghan Whigs), the sky seems to be the limit for this group of rockin’ riff-raff. Darcy, daughter of New Orleans’ own Dave Malone (The Radiators) has been peddlin’ tunes as long as she can remember and plans to take the world by storm, one gig at a time, she says.

ATLRetro caught up with Darcy for a quick interview about the history of The Tangle; the band’s rockin’ retro influences; and their debut album, STILL LIFE! And while you’re takin’ a gander at our little Q&A with Darcy, check out the band at Gasa Gasa here (June 27, 2015).

ATLRetro: With a band name like Darcy Malone & The Tangle, it sure sounds like you guys are up to no good, which of course we can’t help but like! Can you tell our readers about The Tangle and how you and your fellas got together as a group?

Darcy Malone: Well, there’s no fun unless you’re up to- a little bit of – no good right? But those are probably stories for another time. Ha! The name “The Tangle” actually refers to our backgrounds as musicians. We all hail from different backgrounds and influences making our sound become a “tangle of genres,” which I think is how we have such a unique style and sound especially for a band out of New Orleans. As for how we became a group, there are several stories behind that. Chris and I started playing music together in 2003 and that turned into a relationship, which turned into a marriage. We evacuated to Austin after Katrina and came back and gathered up these dudes, and it finally became what we’d been trying to create for years. Many of us had history together. And some we met over Craigslist. Believe it or not, that’s how we met Craig. Ha!

Photo by Sharon Pye (L-R: Glen Newbauer, Billy Schell, Craig Toomey, Darcy Malone, Chris Boye, Jagon Eldridge)

Hailing from the Big Easy and the land of jazz and “swamp rock,” it must have been amazing being surrounded by layers upon layers of musical history. Can you tell our readers about your musical upbringing and what stirred you to share your love of music?

Growing up in NOLA, you are around not only jazz and swamp rock but lots of funk, blues, jams, etc. I personally grew up right in the middle of it. I came from a musical family known for their contributions to the New Orleans music scene. My dad being from the Radiators [one of the most successful rock bands out of NOLA] influenced me very heavily. I was singing all the time. Went to many gigs at places where kids maybe shouldn’t be, with both my dad and mom. And music was just in our blood. There wasn’t a day we lived without it. There was no way in hell I wasn’t gonna be a musician of some sort. And as a result I met many different types of players and performers and got to perform in many different styles. I think this really shaped up the type of singer and songwriter I am today for sure. I got to be around some pretty amazing musicians. And I studied every move, every note, every style, EVERYTHING.

Being the child of a musician is an opportunity that most don’t get the chance to experience. What was it like growing up in a house full of music?

It was definitely not your typical childhood. It was really nice to have holidays with guitars out and singing songs, but I also went to a lot of gigs at festivals, sometimes in clubs, and sometimes on the road. It was fun to get to stay in a hotel room and eat room service and see cool music and meet cool people. I remember going with my dad to Memphis when he was recording one of his albums and getting to go to Graceland and Sun Studios. For a kid who was my age at that time, it may not have been first choice to do, but I was beyond ecstatic. I think I learned a lot about good music early. I knew at 5 who the Beatles were and my first big concert at 8 was Elvis Costello and the Attractions. I feel really lucky to have been taught early on about the good stuff. It, of course, did have its downs, too. If I wasn’t able to go on the road, it meant I was home and dad wasn’t. So that part of it was a bit if a bummer. But he was young, single and living the rock star life. With me and Chris both being in this band, we hope to take our son to as much as we possibly can!

We read that you draw personal inspiration from soul singers and ‘60s girl groups. What is it exactly about them that inspire you?

There is something so raw about someone like Ronnie Spector, or Darlene Love. And for me, it’s not just the girl groups of the ‘60s, but a lot of the girls then like Tina Turner, Janis Joplin, Dusty Springfield, Bonnie Bramlett. They sang with effortless soul. And it was gut-wrenching and so amazing it could make you cry or get massive goosebumps. They didn’t do it with lots of vocal trills or 100% perfect pitch. They did it with flaws and guts. It was real raw emotion that came straight from the heart. That’s the type of singer I always want to be.

Who would you say are your top three most influential retro musicians/singers? And what is it about them that inspires you?

Only three???!! Tina Turner – she can out-sing any dude, moves like a tornado and is just one badass mama. Cyndi Lauper – Quirky, sings from the gut and doesn’t give a “you know what” what anyone thinks about it. Her voice is and will always be unbelievable. Ronnie Spector– had a distinctive voice that literally made a song, and did it effortlessly and with style. Honorable mentions of course are Janis Joplin, Bette Midler, Donny Hathaway and Elvis Costello.

Your sound has been described as being influenced by pop/rock, new wave, soul, R&B and more. How would you describe your sound to our readers?

You just did! It literally is a “tangle of genres”! We don’t conform to one standard genre. Music fulfills a mood. There’s something on our record for everyone.

Can you tell our readers a little about your debut album, STILL LIFE, produced by Rick Nelson (Afghan Whigs), which is set to be released on March 25? And how can we get our hands on it?

The title track is about being yourself. Don’t live the still and stale life of what people think you should be like or look like. Be yourself and you’ll always be happy and in control. This record really is a piece of work that we are very proud of. And we couldn’t have done it without Rick’s ear and guidance. I just simply cannot wait for everyone to hear it. The release is at legendary Tipitina’s in New Orleans on Saturday March 26.  Then it will be available in record stores, online via iTunes, Amazon etc., and of course on our website. We are also going to have vinyl soon! So be on the lookout for that!

The band has been around since 2013. Which venue would you say is your favorite so far, and if you could play anywhere you’d like, where would that be?

Favorite New Orleans venue so far has been Tipitina’s. It’s a classically wonderful place to play. Out of town, The Nick in Birmingham has been my fave – such great people and such a cool venue. I want to play everywhere! There’s no limitation to that!

If you could put together a dream line-up of musicians to play with [still around or not], who would it be?

Oh man…..such a great question. I’ve had so many fantasies about this. Combining both around and not? Well let’s say the obvious…The Beatles, along with the Ike and Tina Turner Revue, Blondie, The Pixies, Cyndi Lauper, Alabama Shakes and us. And that’s just one stage ’cause this is a festival right? Man, what a weird and awesome lineup!

Anything scandalous planned for your shakin’ shindig at Smith’s Olde Bar on March 5?

We’ve always got a fun bag of tricks involved, but you will just have to come to the show to see them!

Photo by Jerry Moran (L-R: Jagon Eldridge, Glen Newbauer, Billy Schell, Darcy Malone, Craig Toomey, Chris Boye)

What’s next for Darcy Malone & The Tangle?

More records? National tours? We are ready for it all! In the meantime we will keep playing and writing and trying to live the dream.

Anything else you’re dying to tell ATLRetro readers about yourself? The Tangle?

This will be my first venture to Atlanta! I’m a crazy dancer, and I’m so ready to shake it with you guys. Come talk to us at the show! We love making new friends!

Photos provided by Darcy Malone & The Tangle and used with permission.

Ask anyone in Atlanta’s neo-burlesque scene who started it here, and one name inevitably comes up— Eve “Torchy Taboo” Warren. She’s been dubbed the “Godfather of Atlanta Burlesque” and nothing seems more natural than her hosting the Dirty South Burlesque Showcase, a late-night cabaret on Saturday night for some of the best regional performers, one of several star-studded performance events at this weekend’s Southern Fried Burlesque Fest [read ATLRetro’s preview here].

With all the burlesque troupes and production companies performing here now, it’s hard to imagine that just 16 years ago, none of that existed. While Atlanta was home to one of the nation’s largest collections of adult entertainment venues, those venues had long ago left behind any appreciation of the art of the tease. Among all the stagnant bump and grind for big bucks, however, one dancer had a dream.

This red-haired 5-foot-nothing Rita Hayworth lookalike never had been an ordinary stripper. When she wasn’t dancing, she was vagabonding across Europe, performing at drag shows at The Sports Page, studying art history, sipping Polynesian cocktails, waxing poetically about corndogs and jitterbugging to rockabilly bands at the Star Bar. That’s how I met her in 1995 through my friend “Go-Go” Max Bernardi, another Star Bar regular and a singer, painter and performance artist whose artwork and acts were often seen at 800 East, an Inman Park warehouse that at the time was a haven for the city’s alternative creative scene.

The cast of Go-Go and Torchy's Taboo Revue including Eve "Torchy Taboo" Warren, "Go-Go Max" Bernardi, Wanda Baker, Tim Monteith, Ivy Godiva, Dave Olsen and the Queen Bee. Photo credit: April Stevens

Together, Eve and Max cooked up this crazy idea to put on a tribute to the burlesque variety shows of the mid-20th century which they would come to call GO-GO AND TORCHY’S TABOO REVUE. It took place at the Catch City Club, next to Center Stage in Midtown, on October 14-15, 1995, and included many top players in Atlanta’s burgeoning rockabilly, lounge and performance art scene. Useless Playboys former front man “Big Mike” Geier even returned to Atlanta from Richmond, Va., to emcee. Later on he’d found some band called Kingsized and perform with a neo-burlesque company called Dames Aflame, which incidentally also was founded by Torchy Taboo. Another reason why it’s only fittin’ that Big Mike will be hosting and the Dames Aflame are special guests at the FreeRange Burlesque Show Friday night at Southern Fried.

Kelly Hogan (The Jody Grind, Rock*A*Teens), Wanda Baker (Bleu Velveeta) and Dave Olsen (Atlanta rockabilly swing icons The Lost Continentals) sang solo numbers, and almost every number was performed live by a seven-member lounge band, featuring Olson and other members of The Lost Continentals. Dashing up-and-coming illusionist, Christopher Tracy, provided magic, and Ivy Godiva, the weekly guest star of the then-infamous Go-Go Rama dances at the Star Bar, delivered laughs as his ravishingly redneck assistant, as well as a red-hot striptease to a revved-up rockabilly version of Dion and the Belmonts’ “Ruby Baby.” Puppeteer Tim Monteith boogied woogied as all three Andrews Sisters; he still regularly performs at Syrens of the South and other local shows and is competing in the first annual Southern Fried Burlesque Pageant earlier on Saturday night. In an artistic interlude, modern dancers Anik Keuller and Sonya Sconiers re-interpreted the Greek myth of Persephone without removing a stitch. And a certain ATLRetro writer/editor danced and sang as a 1920s art deco Bumble Bee Queen, with Bee-ettes “Saasha Foo” Wilson, hostess to many of 800 East’s zany variety shows, and her friend and fellow disco dancer Faith Farley.

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