Tiny Horse

Tiny Horse – “Ride” from Darkly Sparkly
The Dead Girls – “Love You To" / Signal To Noise’s Tribute To The Beatles at Knuckleheads, June 1
Cowboy Indian Bear – “Let It Down” from Live Old, Die Young

Ricky Dean Sinatra – “Werewolf” / Reunion show at Jazzhaus, July 20

Scott Hrabko – “Blue, Period” from Gone Places

Lonnie Fisher – “Ghosts Driving in My Van” from Ghosts and Dreams

Erik Voeks – “Hester A. Fish” from Finulu

The Quivers – “He Had It Coming” from Gots To Have It!

Betse Ellis – “Straight To Hell” / Wednesday MidDay Medley’s (KKFI) 500^th show, November 20

Radkey – “Out Here in My Head” from Cat & Mouse

Danny R. Phillips, Deli KC contributor

Best album: Many Moods of Dad – The Consequence of Trying

Best EP: Black on Black – Get On With It

Best song: Scruffy & the Janitors – “Shake It Off”

Other best albums

David Hasselhoff on Acid – Eudaimonia

Pale Hearts – Hollowtown

Bloodbirds – Psychic Surgery

Missouri Homegrown – You Asked For It

Red Kate – When the Troubles Come

The Pedaljets – What’s in Between

Stiff Middle Fingers – At the Scene of the Crime

Dsoedean – Continue to Move

The Grisly Hand – Country Singles

Best shows

Bob Mould / The Pedaljets at The Bottleneck, August 16

Jon Spencer Blues Explosion / Kid Congo and the Pink Monkey Birds at recordBar, October 7

Lawrence Field Day Fest at The Bottleneck, July 11-13

Cupcake / Scruffy & the Janitors / Universe Contest at The Rendezvous (St. Joseph), March 22

Bill Brownlee, The Plastic Sax / There Stands the Glass

Top 10 albums of 2013

The Grisly Hand – Country Singles
Tech N9ne – Something Else
Mark Lowrey – Tangos for 18th Street
The Architects – Border Wars: Episode I
Eddie Moore and the Outer Circle – The Freedom of Expression
Alaturka – Yalniz
Reggie B – DNA
Cowboy Indian Bear – Live Old, Die Young
Dutch Newman –Schorre's Son
Akkilles – Something You'd Say

Steven Tulipana, co–owner of recordBar / miniBar

Favorite recordBar moments of 2013

Kishi Bashi / Plume Giant, February 17

Wovenhand, April 4 (Middle of the Map Fest)

Arrington de Dionyso’s Malaikat dan Singa / Aurograph, April 29

Sonic Spectrum’s Tribute to Lou Reed and The Velvet Underground, May 26

...And You Will Know Us By the Trail of the Dead, July 16

Bob Log III, July 23

Richard Buckner, October 30

Jon Spencer Blues Explosion / Kid Congo, October 7

King Khan and the Shrines, October 20

Found A Job performs The Talking Heads’ Stop Making Sense, November 29

Thanks for all your support this year! We look forward to hearing more excellent music in 2014.

Also, don't forget to visit www.voteformmf.com! We have tonight and tomorrow to vote for Midwest Music Foundation, so cast your vote now!

–The Deli KC staff

December 31, 2013

Show recap: KC Uncovered III - Shine A Light

Throughout the first day of the winter solstice, the streets of Kansas City glazed over with ice and various events around town were canceled. While much of Westport and surrounding areas were relatively desolate, a healthy-sized crowd gathered at the recordBar to pay tribute to the music, the work, and the life of Abigail Henderson.

It’s one thing to cover the music of a musician whose work you respect. It’s another thing to cover the music of a musician you know personally whose work you respect. It’s yet another thing to cover the music of a musician whose work and life was esteemed by every person in the room, from those who knew her best to others who had possibly not even met her. Though this was quite the challenge for each musician who took the stage, each one honored Henderson’s music in his or her own way.

The audience was somewhat subdued when The Clementines stepped up to the stage, perhaps fully beginning to grasp the fact that they would be hearing these songs live for the first time since Henderson’s passing. But as soon as the first note of “Gods, Guns, and Glory” (an early Gaslights tune) kicked in, a collective smile swept over the room. Throughout the band’s five-song set, Nicole Springer captured everyone’s attention with a vocal inflection and country twang very akin to Henderson’s. Her charismatic control over Tiny Horse’s “Ghost” and confident command over “Last Dollar” (The Gaslights) was reminiscent of Henderson’s range.

Katie Gilchrist picked up right where Springer left off, evoking the late singer’s grit and tenacious attitude with “15 Hands” (The Gaslights). Vi Tran Band interpreted some of these songs in a different way, with slightly different arrangements to highlight Gilchrist’s voice or to emphasize the weight of the words Henderson wrote—for instance, the band performed acoustic versions of “One Trick Pony” (Tran on lead vocals) and closed out the set with “Galveston” (Gilchrist on lead vocals). On Atlantic Fadeout’s “Better Run of Bad Luck,” Gilchrist channeled the brazenness of her friend, providing one of the many musical highlights of the evening.

Where the previous two frontwomen amazingly called upon Henderson’s voice with their similar vocal deliveries, the remaining acts put a different spin on the music. Power trio Not A Planet injected its own melodic, punctuated rock ‘n roll style into songs of a more country/Americana nature. Nathan Corsi proved that his own vocal pipes could stand up to the fiery deliveries of Springer and Gilchrist through Gaslights’ tunes like “Red Dirt” and “Wicked Love.” The band reinterpreted Tiny Horse’s “Ride” with a boldness that emphasized the story of the song and a delicateness that honored the song’s memory.

Next up was The Oil Lamps, a supergroup of Henderson's friends and former bandmates with featured guests. The main band included the event's co-founder Bill Sundahl, Mike Alexander, John Velghe, and Mike Meyers. Howard Iceberg appeared on guest vocals for "Lines and Wires," (The Gaslights) delivering his own punk rock resolve to the tune. Amy Farrand, who was the drummer for Atlantic Fadeout, stepped into the forefront to sing the band’s tunes “Blood and Bone” and “Break Your Heart.”

But one of the most compelling performances of the night was the band's performance of "On the Market," featuring Steve Tulipana on vocals. This was a Gaslights tune that Henderson sang in a quieter, more melancholy register than most of the band's work, perhaps more reminiscent of her vocal work in Tiny Horse. Tulipana turned this into a heart-clenching tribute, channeling the intensity of Tom Waits and Joe Cocker, each word calculated and phrased to drop like an atom bomb.

Finally, Sister Mary Rotten Crotch (pictured above) took the stage, a perfect choice to end a cathartic evening. The tears that had been shed throughout the night ceased when Liz Spillman Nord started spitting lyrics from old Gaslights’ tunes. Her fierce punk vocals turned up to eleven put a completely different spin on Henderson’s music, but kept in step with the late singer’s intrepid spirit. By the end of the evening, the tight-knit crowd was at the edge of the stage pumping fists and singing along with the band on tunes like “Sundays and Interstates” and “Old Blue Love.” The night ended on a high, celebratory note, preserving the memory and honor of an individual that helped bring the Kansas City music community closer.

—Michelle Bacon

Michelle is editor of The Deli Magazine - Kansas City, and also plays drums Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines. #shinealight #voteformmf

Saturday’s show also kicked off the beginning of the voting period for Boulevard Brewing Company’s 10% of KC campaign. The campaign continues through December 31 and includes three area charities—one being Midwest Music Foundation. Visit www.voteformmf.com to vote for one of the charities, once per day, per IP address.

December 26, 2013

Apocalypse Meow 6 Preview: Chris Meck and The Guilty Birds

(Photos by Todd Zimmer)

Chris Meck is a mild-mannered, often soft-spoken man. Like his wife Abigail Henderson, he’s the type of person you instantly feel comfortable around, but in very different ways from her.

From a musical standpoint, Henderson was the bold frontwoman whose voice and presence commanded every room she performed in. She also lived with a ferocity that kept her strong through a five-year battle with breast cancer, taking the stage (at Knuckleheads) for the last time with Tiny Horse only weeks before her passing in late August (Read here for an interview with Henderson right before last year’s Apocalypse Meow to find out more about her).

On the other hand, Meck’s musicianship has typically been defined by its tastefulness. Though he plays with a finesse and texture that few other guitarists are able to pull off, he exudes a high volume of emotion and heart through each note. Likewise, he has been the perfect complement to Henderson’s big brazen personality and even larger heart. The two of them started Midwest Music Foundation five years ago, after Henderson was diagnosed with cancer. Apocalypse Meow was the name of the benefit originally held in her honor, and they helped provide the resources and manpower for it to continue as a benefit for musicians' health care for many years.

This will be Meow’s sixth year, and it’s expected to be the biggest one yet. Days before his wife passed, Meck decided he still wanted to play this show, as it had been a tradition since Henderson's benefit for the two of them to play the first night of Meow (they were unable to in 2011 due to Henderson’s illness). He had no idea what this project would eventually become, but he knew that it should happen.

“It’s not Tiny Horse, won’t even try to be,” said drummer Matt Richey. “Chris has his own approach to writing, especially now that he's taking on the role of frontperson; he's experimenting a lot too.”

Meck’s project The Guilty Birds will make its debut at The Midwestern Musical Co. for Apocalypse Meow 6 on Friday. It will be his first time as a frontman and primary songwriter of a band, both duties that Henderson assumed in all of their previous projects, which included Trouble Junction, The Gaslights, Atlantic Fadeout, and Tiny Horse.

“I stopped writing songs about 15 years ago. My tastes exceeded my grasp, so I decided I was probably a better guitar player and became a side man. I was playing with all these people that were prolific and I didn’t need to write,” he explained. “In our bands, Abby would usually bring in what she would call the bones. Basic musical changes, lyrics, melody. I would do the arranging. That’s kind of what I’m doing now, with the roles switched.”

Richey and Zach Phillips provided the rhythmic backbone of Tiny Horse since it was realized as a full band (Cody Wyoming also rounded out the five-piece), and remain with Meck in this new venture. “His writing is sharp and we're really making an effort to keep the focus on the songs, not overplaying as many trios tend to do,” stated Richey. “At its heart it’s still pretty straightforward rock ‘n roll, but there are elements of soul and country. It’s pretty high-energy as well. The more he continues to write, the more it will change.”

But Meck seems slightly concerned to be at the forefront. “I’m terrified,” he remarked. “But I’ve always heard... if something scares you, you should probably do it.”

He explained that he barely touched a guitar for about a month after his wife passed away. "She was the most prolific songwriter I knew. We played together for 10 years, just a couple months after we started seeing each other.” Not long before she passed, the two of them discussed her songwriting process. "Abby used to say, ‘ass in seat.’ Even when we were on tour, she would always be up early sitting in the corner of our hotel room with a guitar. So I sit down every morning with a notebook and fill it with drivel, waiting for something good to come out."

On Friday, The Guilty Birds will execute Meck's newly exercised songwriting process, debuting four original songs, along with a few covers. This year’s Meow will be notably different with Henderson’s absence, even more so while three-fifths of her band performs for the first time without her. "There will be a lot of nerves and it's likely to be quite emotional," said Richey. "I have no idea what to expect it to feel like, but I'll be up there with good people who I have a great deal of respect for and surrounded by a lot of friends. That's what matters the most.”

With Meck at the helm, it’s certain that he will take a divergent path from Henderson’s style of songwriting, but it will be handled with the same delicate sense of care and earnestness. “I don’t know if the end result is gonna be good or not, but I'm enjoying the process. It’s a new adventure for sure."

--Michelle Bacon

Michelle is editor of The Deli Magazine - Kansas City, and also plays drums Drew Black & Dirty Electric and bass in Dolls on Fire and The Philistines. Chris Meck is her all-time favorite tall guy (take that, Abe Lincoln) and has one of a very select few hug passes.

To find out more about MMF, visit http://midwestmusicfound.org. Find out more about Abby's Fund for musicians' health care also. Be sure to join Chris and The Guilty Birds at Midwestern Musical Co. on Friday, November 1 at 8 pm along with The Silver Maggies. It's a free, all-ages show, donations welcome. Head to the big event on Saturday night at Knuckleheads. Visit http://www.apocalypsemeow.net for a full lineup and schedule. Ticket link. Facebook event page.

Tiny Horse "Ride" from Jetpack Pictures on Vimeo.

Free Electronic Press Kits from ReverbNation.com

October 31, 2013

CD Name:

Darkly Sparkly (EP)

Music Link:

http://www.reverbnation.com/tinyhorsemusic‎

Album Cover URL:

http://sphotos-b.xx.fbcdn.net/hphotos-prn1/44597_426169839554_6900240_n.jpg

body:

<div><span style="font-size:10.0pt;Times New Roman";">One horse. Very small. Packs a wallop.</span></div> <div> </div> <div><span style="font-size:10.0pt;Times New Roman";">Chris Meck and Abigail Henderson have given way more than their lion’s share to the Kansas City music scene. Whether through past efforts like </span><a href="http://www.myspace.com/thegaslights"><span style="font-size:10.0pt;Times New Roman";">The Gaslights</span></a><span style="font-size:10.0pt;Times New Roman";"> or </span><a href="https://www.facebook.com/atlanticfadeout?fref=ts"><span style="font-size:10.0pt;Times New Roman";">Atlantic Fadeout</span></a><span style="font-size:10.0pt;Times New Roman";"> or being some of the driving forces behind the </span><a href="http://miwestmusicfound.org"><span style="font-size:10.0pt;Times New Roman";">Midwest Music Foundation</span></a><span style="font-size:10.0pt;Times New Roman";">, </span><a href="https://www.facebook.com/apocalypsemeow08?fref=ts"><span style="font-size:10.0pt;Times New Roman";">Apocalypse Meow</span></a><span style="font-size:10.0pt;Times New Roman";">, and </span><a href="https://www.facebook.com/midcoasttakeover?fref=ts"><span style="font-size:10.0pt;Times New Roman";">MidCoast Takeover</span></a><span style="font-size:10.0pt;Times New Roman";">, they should receive the deep admiration of anyone that sets foot on a stage in this town. Their latest musical endeavor, </span><a href="https://www.facebook.com/tinyhorsemusic?fref=ts"><span style="font-size: 10.0pt;Times New Roman";">Tiny Horse</span></a><span style="font-size:10.0pt;Times New Roman";">, is no exception. <i>Darkly Sparkly</i> is a gorgeous collection of songs.</span></div> <div> </div> <div><span style="font-size:10.0pt;Times New Roman";">In the simplest of descriptions, the duo plays dark Americana. Ticklers of atmospheric instrumentation, provided by Meck, gambol upon the background, occasionally throwing the ball over the fence to take the melody reins or mingle with Henderson’s haunting vocals, but are quick to slink back to further delighting the sonic landscape.</span></div> <div> </div> <div><span style="font-size:10.0pt;Times New Roman";">But as everyone’s mother will tell you, life is not simple. Tiny Horse is the unfortunate poster band for this sentiment. You probably know the back story, but in case not, </span><a href="http://www.kansascity.com/2012/10/31/3892754/still-singing-still-swinging.html"><span style="font-size:10.0pt;Times New Roman";">here is a link</span></a><span style="font-size:10.0pt;Times New Roman";"> to an article from late 2012 by Timothy Finn over at <i>The Kansas City Star </i>that paints the picture.</span></div> <div> </div> <div><span style="font-size:10.0pt;Times New Roman";">Especially in that light, there are next to no words I can come up with to adequately describe the impact provided by the vocal performance. Henderson is able to speak from a place that few of us have ever been and she seemingly welcomes the opportunity to embrace these experiences and provide the listener with a small bathroom window into what it all has come to mean for her. Her voice is so beautifully imperfect—an ideal combination of coying, sweet and sassy as worked upon by the old rusty wood rasp from your grandfather’s tool shed.</span></div> <div> </div> <div><span style="font-size:10.0pt;Times New Roman";">Her lyrics say it best:</span></div> <div> </div> <div><span style="font-size:10.0pt;Times New Roman";">(reviewer’s note: these are the best transcriptions these old damaged musician ears can figure out)</span></div> <div> </div> <div><span style="font-size:10.0pt;Times New Roman";">From “Ride”:</span></div> <div><i><span style="font-size:10.0pt;Times New Roman";">“There’s no one left to ask, pictures of the past just sit in boxes underneath the bed</span></i></div> <div><i><span style="font-size:10.0pt;Times New Roman";">Money’s just a noose, the old excuse that fooled you into what you did instead.</span></i></div> <div><i><span style="font-size:10.0pt;Times New Roman";">Ride with me tonight. Let’s remember what it means to chase a little something.”</span></i></div> <div> </div> <div><span style="font-size:10.0pt;Times New Roman";">From “Ghost”:</span></div> <div><i><span style="font-size:10.0pt;Times New Roman";">“Why do you need me? Why do you want me? Cause I’m not done here. Leave me alone.</span></i></div> <div><i><span style="font-size:10.0pt;Times New Roman";">Take your old songs. Take your old singers. Leave me to write. The only world I’ve known.”</span></i></div> <div><i> </i></div> <div><span style="font-size:10.0pt;Times New Roman";">From “Nashville Parthenon”:</span></div> <div><i><span style="font-size:10.0pt;Times New Roman";">“It’s been so dark since you left Nashville. I’ve read the same books again and again.</span></i></div> <div><i><span style="font-size:10.0pt;Times New Roman";">Makes me wish I wasn’t bashful when it comes to other men.</span></i></div> <div><i><span style="font-size:10.0pt;Times New Roman";">But if I could have my way, darling, you’d come home.”</span></i></div> <div> </div> <div><span style="font-size:10.0pt;Times New Roman";">“Softly We Fall” is a tender ballad reminiscent of the final song of a junior high school barn dance somewhere in dusty West Texas circa 1958. Meck doesn’t offer his voice up too often on these tracks, but they are used to great effectiveness here. His mimicking vocals follow along on the chorus, <i>“Softly we fall into each other’s arms. It was your fault when we kissed</i>,” further adding to the nostalgic remembrances of adolescent courting. His guitar works also particularly stands out on this track, beautifully crafted and culminating with a simple yet scathing solo to carry the song home.</span></div> <div> </div> <p><span style="line-height: 20px;">All in all, the music presented by Tiny Horse is just simply triumphant, the work of carefully seasoned (and hardened) musicians, also including multi-instrumentalist Cody Wyoming, bassist Zach Phillips, and drummer Matt Richey. It is sorrow meant to be remembered, celebrated, and enjoyed. The EP’s title, </span><i>Darkly Sparkly</i><span style="line-height: 20px;">, seems most appropriate. The KC music scene would be a much darker and less sparkly place without the efforts of Meck and Henderson.</span></p> <p><em>--Zach Hodson</em> </p>

August 27, 2013

In Memoriam: Abigail Henderson, 1977-2013

(Photos by Todd Zimmer)

“Music is an art. It’s something that needs to be tended, and the people who make it need to be cared for… The currency to building a city is investing in its artists.” —Abigail Henderson

The Kansas City music community has suffered an irreplaceable loss today with the passing of Abigail Henderson, who fought a long, courageous battle with cancer. With her husband Chris Meck, Abby co-founded Midwest Music Foundation when she was diagnosed in 2008, with the goal of providing health care assistance to musicians. Since then, MMF has given a number of grants to musicians with health emergencies. Apocalypse Meow, which began as a benefit for Abby, now benefits the musicians' emergency health care fund and will reach its sixth year in November.

With the conviction that musical talent from the Midwest rivaled that of anywhere else in the nation, she also helped create MidCoast Takeover, a regional music showcase at SXSW that reached its fourth and most successful year this past spring. The Deli named MidCoast one of the best unofficial showcases of 2012, and approached MMF to head up a Kansas City chapter. Thus, The Deli Magazine—Kansas City was born and thrives with Abby's goals in mind: to promote local music, foster talent, and provide a sense of community and inclusion among those who have a hand in KC music.

Abby was also frontwoman and songwriter of Tiny Horse, which began as a duo with Chris Meck and was eventually realized as five-piece band (link to video below). She was also in notable bands including Atlantic Fadeout, The Gaslights, and Trouble Junction.

I had the distinct honor and pleasure of interviewing Abby for The Deli KC last fall in preparation for Apocalypse Meow 5. If you want to know more about this amazing woman and read her words (because mine simply cannot do them justice), please click this link. And as a fellow musician/MMF staffer/friend, I want to personally thank Abby for her steadfast spirit, support, inspiration, beautiful stories and songs, friendship, and the wonderful people she's helped bring together as a result of all those things. And I'm certain that I'm one of a multitude of individuals that share this sentiment.

To commemorate Abby, please take a moment to find out more about MMF and its mission by clicking on the image below. Donations are always appreciated and will continue to benefit the musicians' emergency health care fund.

Thank you, Abby, for the effect you've had and will continue to have on the music community here. Kansas City has undeniably become a brighter, more vibrant place with you in it.

Tiny Horse "Ride" from Jetpack Pictures on Vimeo.

#shinealight

--Michelle Bacon

Michelle is editor of The Deli Magazine - Kansas City. Meow.

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August 27, 2013