So the Elevator Kings didn’t work out. The band itself was shaping up well and there’s nothing about our first and only performance I would alter. From my perspective, the show went excellently. I walked away from that evening feeling invigorated about performing and optimistic for the future of the group. A few weeks later I received a phone call informing me that I was incorrect. Despite my observations of a majority of those in attendance applauding after every song, spending money and enjoying themselves, I was informed that my performance (not the band’s but only mine) was unacceptably poor and had caused a degree of panic with in the establishment. Now this wasn’t clear to me from the positive response of the audience from my position on stage. This was not clear from anyone in charge as I picked up the checks and was reimbursed in the same friendly manor I had been for years. As far as I can tell this was only clear to possibly one table, who despite seeing others around them enjoy the music, felt that their money was greener and their opinions of music were more valid then those enjoying themselves. The establishment agreed with this minority.
I intend to address the late Elevator Kings as well as the circumstances regarding my exit from the Fifth Street Quartet in full detail at a later time along with my current feelings on Jazz. Today I had to at minimum give you, dear reader, a basic explanation of what happened before we could move forward together. What happened with the Kings could be describe by Sting as “a humiliating kick in the crotch” of my ego. This vulnerability would have never occurred if I hadn't put on a performance that exposed myself to it through true exploration. This is the hallmark of real Jazz and true art.
While this incident knocked the proverbial wind out of my sails for a few months, 2019 has been one of my most successful music years to date. In February, I was heard nationally and internationally via the long running Coast to Coast AM radio program. In March, I released the favorably received EP Candy Coated Cereal and Cigarettes. In April, I performed in front of one of my largest audiences ever when I played the entrance music for the Mustache World Order at Remix Pro Wrestling's’ Throwdown for the Pound 19: the Vision (an in depth blog on that to come in the future). Of course, in June, despite the vocal critics, I had my best Jazz performance ever which in an almost Ziggy Stardust like manor would abruptly become my final Jazz performance for the foreseeable future.
Now I want to discuss what comes next. Immediately following the release of Indie Rockamaninoff, I began the recording of another album. This new album continues the theme of concept album but rather then Indie Rockmaninoff’s artisanal audio experience this new album follows the more liner rock opera idiom (The story elements to be further shared with you in future blogs). This new album is rooted in my long-standing admiration of Lou Reed and particularly the Velvet Underground’s Loaded as well as the more eclectic sounds of R.E.M.’s Green and Monster. This new album is loaded with hits. This album is titled Counter Culture Caliphate.
Please prepare yourself and others to hear more about the thrilling Rock and Roll tale of American MK Ultra brainwashing programming as told through the voice of fuzzed out Vox amps, dirty eclectic harmonica, humbucker Telecasters and P-90 Les Pauls. To initiate the upcoming Counter Culture Caliphate programming please enjoy this early sample, Cheer Up Shelly.