In the course of being a music journalist and college radio DJ many years ago, I had met and interviewed some of my favorite rock bands. (Meeting the late Sandy Denny remains a high point of that era.) But the experience of doing a web page about a favorite band, communicating with them on e-mail without ever having met them, and then meeting them was a completely unique situation. What follows is an account of my visit and the show, as well as a history of my experiences as a Walkabouts fan. The concert easily earned a place on my list of all-time favorite shows, and I also had a great time getting to know the band and their associates.
Some Background...
(Warning: This may be more than most people would want to know about my history as a Walkabouts fan, but at the same time I think that other fans will be able to identify with some of the struggles.)
The first Walkabouts album I bought was 'Cataract,' when it came out in 1989. I was in a record store with a friend who had heard some of their songs. She picked up 'Cataract' and said "You gotta buy this!" So I did.
Its minor-key folk-rock immediately captivated me, so I went back and bought 'See Beautiful Rattlesnake Gardens.' Shortly afterwards, I saw that the band was going to be playing in San Francisco, as an opening act at a club called The Nightbreak, so I attended it and was just as impressed with their live show. The interplay between Chris Eckman and Carla Torgerson reminded me of the times I had seen Richard and Linda Thompson in concert. In fact, just after I had been making that mental comparison they launched into a Richard Thompson cover (I didn't suspect at the time that over the next nine years the Walkabouts would also cover songs by just about every other favorite songwriter of mine). However, as the opening act their set was kept short and the audience was not as attentive as it should have been.
I continued following the band after that, buying their albums as they came out and trying to find out about their tours as best I could in those dark days before the Web (although I might have had more success if I had tried responding to the mailing-list address provided in each album).
One day in 1993 when I was in Tower Records I found a CD of the then-new 'New West Motel.' I was puzzled by the fact that it was a German import and cost $22 even though it still said Sub Pop on the label. I decided to wait for what I thought would be the inevitable and more affordable US release.
So I waited. And waited. After a few more months I found a copy of the import CD marked for a mere $16, so I grabbed it, hardly knowing that this was just the beginning of a crazy pattern whereby Walkabouts albums would only come out in Europe and would be almost impossible to find in the US.
'New West Motel' proved well worth the wait, though. 'Jack Candy,' the opening track, was a dark masterpiece (although you could probably use that phrase to describe a lot of Walkabouts songs), and the rest of the lengthy album was just as solid. The band had clearly broken through to a new level of creativity. (I was later to learn from published interviews that this breakthrough followed a period of uncertainty about the band's future.) I couldn't wait to see where the band would go next.
Well, once again, I had to wait, and keep waiting, while the Walkabouts entered a prolific period. I read glowing reviews of 'Satisfied Mind' and 'Setting the Woods on Fire' in UK publications, but I couldn't track them down anywhere. Tower had seemed to give up on stocking the Walkabouts after 'New West Motel.'
Finally, during one of my regular visits to the great Berkeley music store Mod Lang, I hit the jackpot while making a cursory check of the "W" section (which I had checked during previous fruitless visits). Both recent Walkabouts CDs were there, along with another album that I had never even heard about: 'Shelter for an Evening,' a live acoustic album featuring just Chris & Carla. Needless to day, the following days saw a non-stop Walkabouts music festival in my apartment. (Shortly thereafter I also finally got myself on the Walkabouts mailing list, so I was able to start buying other CDs and merchandise directly from the band.)
It was thanks to the mailing list that I found out they were doing a limited tour of the US and would be playing SF's Bottom of the Hill club in June 1995 (opening for Epic Soundtracks).
The band's development over the six years since I'd seen them before was very apparent as they performed masterful renditions of songs from their then-recent albums (as well as a couple of songs that I didn't recognize and which I now assume were previews of 'Devil's Road' songs). But it was highly frustrating to see a headliner-quality band squeezed into a 45-minute time slot, trying to play over the rising volume of crowd noise while only 20 or 30 people paid them any serious attention. And if it was frustrating for me as a fan, what was it like for them? I could easily see why they focus their energies in Europe, where they can play under decent conditions to appreciative crowds. I knew that I wouldn't be seeing them back in town anytime soon.
Just then my sister went to London on business, so I asked her to look for the album, not being too sure if she'd be able to find it easily. She later told me that she simply walked into Tower Records in Piccadilly Circus and the first thing she saw was an entire display of the album.
I was amazed. How could it be that I was completely unable to find the album in the US, while Tower in London, and no doubt many other stores across Europe, had entire displays set up?
As usual, though, the album proved to be worth all the effort. It featured new levels of songwriting and performance, a new level of production thanks to Victor van Vugt, and sweeping string arrangements by Mark Nichols and, on 'The Light Will Stay On,' Glenn Slater. I was convinced that this would be the album that would allow them to come storming back into the US music scene, assuming their rightful places in music stores and on nightclub stages.
Once again, I was wrong. 'Devil's Road' never came out in the US and neither has its even more masterful follow-up, 'Nighttown.' (And although it might be interesting to go into all the music-industry-related reasons for these developments, it would probably require a whole separate article.)
Enter: The Web Page
As I continued discovering the wonders of the Web, I decided that I wanted to teach myself how to do a web page. I thought it would be a challenge to start a fan page for a favorite musician or band, so I started checking to see which of my favorite performers already had web pages. The Walkabouts were one of the first ones I checked, of course, and I was both surprised and delighted to see that a very good Walkabouts page had been started by a Swedish university student, Henrik Goransson. Within a couple of months, though, I received an e-mail from him, explaining that since he was graduating soon, the web page could not be maintained and would probably be removed from the school's server.
I wanted to make sure that the site not only continued to exist but would continue to expand, so I copied his site to my web location and then set to work to begin collecting even more Walkabouts information.
To my amazement, Chris Eckman began communicating with me, contributing regular e-mails documenting the band's activities. Later on, the page began listing the CDs that are available through the Walkabouts Thrift Store, so that people who weren't on the Walkabouts mailing list could find out how to order their almost impossible-to-find CDs. The web site has continued to grow, thanks to cooperation from the Walkabouts and a few European and US fans who contribute news and material from time to time. However, as I told Chris early on, I won't have a 'satisfied mind' until the Walkabouts have numerous unofficial web sites, since the number of web sites a band has is an indicator of growing popularity. Eventually, too, the band may decide to start its own 'official' site, and this one will have served its purpose in the interim.
But in doing the web page, the most frustrating thing had been to receive many rave reviews of the band's European shows from fans, knowing that I might never get to see them headline a show in the US. Since their November 1996 Seattle gig, the Walkabouts had been so busy with recording 'Nighttown' and touring Europe twice in support of it that they never had a chance to do another Seattle show (other than to take part in a Townes Van Zandt tribute show). When I heard that they would be playing on November 8th I immediately made arrangements to attend.
Arrival in Rain City
A few years before I heard my first Walkabouts record, my impressions of Seattle had been influenced by Alan Rudolph's neo-noir cult movie Trouble in Mind. Featuring Kris Kristofferson, Genevieve Bujold, Keith Carradine, Lori Singer, Joe Morton and Divine, the 1985 movie makes extensive use of Seattle locations, but the retro-futuristic city in the movie is only referred to as 'Rain City.' The haunted characters in 'Trouble in Mind' could easily coexist in some of Chris Eckman's songs.
So it seemed only appropriate that the rain was pouring down as I arrived in Seattle and made my way to my digs in the Queen Anne area (the homey Inn at Queen Anne). One of my goals for the weekend was to find and photograph some of the lesser-known 'Trouble in Mind' locations, and shortly after my arrival I was in a used bookstore and found a book called 'Seattle on Film,' by Randy Hodgins and Steve McLellan. The book lists most of the film's locations, with the chief one being the location of Wanda's Cafe, where most of the action takes place.
It seemed even more fitting, then, that the storefront which doubled as Wanda's Cafe (and which is now a kosher restaurant) is a mere half-block from the Crocodile Cafe, on the same street.
Having returned from a seven-week European tour just a week earlier, everyone was full of war stories from the tour. I would not dare to attempt to do justice to them by repeating them here, but among other things I learned the importance of having a good bus driver, an aspect of touring that had never occurred to me before. A nasty cold had also circulated around the tour bus, forcing three gigs to be rescheduled when it hit Carla. Apart from that, though, it certainly sounded like it had been a successful tour.
We got back to the Crocodile in time to catch Mark Olsen's impressive set, and the band headed off to get ready for their own set. The club was sold out, and it was so packed that just navigating around the floor was difficult. Dotted around the crowd were fans wearing T-shirts depicting past Walkabouts tours and albums. It was a heady atmosphere for someone who had only experienced the band's live show under less-than-ideal circumstances in the past.
It was close to midnight when the Walkabouts took the stage to a taped backing of Glenn Slater's evocative 'Nocturno' instrumental from 'Nighttown,' ready to face the packed audience. 'Nocturno' soon dissolved into the nighttime city noises from the opening of 'Nighttown', recreated by Glenn Slater's keyboards and Christine Gunn's cello. Chris Eckman also played a keyboard for the opening of 'Follow Me an Angel,' leading off a suite of the first three songs from 'Nighttown.'
Even after hearing 'Nighttown' almost 100 times, I was unprepared for the power and mystery of hearing the songs performed live. It was amazing that six people were able to recreate the complex music on the album and make it sound as if twice as many people were on-stage (even with the help of a few tape loops).
As Chris sang of "night rain on the Greyhound sign" in 'Tremble (Goes the Night),' I flashed back to my arrival the previous afternoon, when I passed the dilapidated Seattle Greyhound bus depot and its rain-pelted sign. It's strange that a simple reference to an everyday object in a great song can add extra significance to that object.
From there the band skipped to another section of 'Nighttown' for 'Heartless,' a great ballad that really showcases Carla's emotional range. I can almost imagine someone like Emmylou Harris covering the song (although I doubt that anyone could improve on Carla's rendition of it).
It was obvious that many people in the audience were unfamiliar with the 'Nighttown' songs (since the album is not readily available in the US), but it was also clear that people were very impressed. Many people that I talked with throughout the weekend spoke of the amazing way that the Walkabouts continue to make significant developmental leaps with each album. Another frequent observation among the Walkabouts fans I talked with is that there is no simply no other American band creating music at this level of quality. Several people talked of 'getting chills' while listening to the songs, and that's something that I experienced as well.
The two most prominent elements in the Walkabouts' live sets are, of course, Carla's achingly beautiful vocals and Chris' versatile lead guitar work. From where I was standing I couldn't see Chris' fingering as he soloed, but whether playing melodic ballads or searing rockers, his solos were always dramatic.
Kicking things up a few notches, the rocking 'Nightdrive,' from 'Setting the Woods on Fire,' came next, and everyone in the club seemed familiar with it. Then the band moved to 'Devil's Road' for four songs: 'The Stopping-Off Place,' 'The Light Will Stay On,' 'Rebecca Wild,' and
'Blue Head Flame.' As mentioned earlier, I'd heard live renditions of these songs from tapes of European TV and radio broadcasts, but recordings can never match the force of feeling the music as it is actually being played live.
A friend had once said that she thought 'The Stopping-Off Place' was a song that wouldn't seem out of place on a Nick Cave album, alongside his own stormy songs. At the time I didn't see the connection, but hearing it live I could begin to see her point as the band summoned up the kind of fury that Nick and the Bad Seeds do so well.
Most people acknowledge 'The Light Will Stay On' as one of Chris Eckman's best songs, and its elegiac qualities shone through in the live performance. 'Rebecca Wild' and 'Blue Head Flame' were likewise brilliant.
I'd heard a few European fans and critics comment that some of the recent songs sounded too 'arranged' in a live setting, resulting in a more subdued performance, but I couldn't disagree more. There was nothing subdued about any of these performances, and the changing dynamics were a knockout. Terri Moeller's drumming, which has always been excellent, is certainly better than ever. She works well with new bassist Baker, who somehow manages to make bass-playing look incredibly easy, even though you know that it's not.
Next came a reworked 'Jack Candy,' giving new energy to what is certainly one of the Walkabouts' greatest songs. Closing out the set were the soulful 'Prayer for You' and the passionate 'The Leaving Kind,' the latter featuring a virtuosic cello solo by Christine Gunn.
The band opened its encore with Patti Smith's 'Free Money,' which Chris kindly dedicated to me as he talked about the web site. Hearing one of my favorite performers dedicate a song to me was certainly a unique experience, and one not likely to be repeated, so it was an honor. (A friend of mine has an old live tape of Metallica where James Hetfield dedicates a song to my friend for his 18th birthday, and I was always a little jealous of that. But I'll take a dedication from Chris Eckman over James Hetfield any day.)
Then the band revved up for a sizzling rendition of 'Grand Theft Auto,' again from 'Setting the Woods on Fire.' Sadly, it turned out to be the last song of the night, but it was a great way to wrap things up, proving that they can still rock out with the best of them even as their newest work ventures into more moody and sophisticated territory. The band probably would have continued playing, but it was already after 1:30 at that point and the club had to close. Chris ended with a promise that they would try to play more often in 1998.
Afterwards, the members of the band came out into the club to talk with the many friends and fans who had waited around after the set. I met one fan who had seen the band over 20 times, and it was hard not to be a little jealous of his record. An eager crowd circled the merchandise table manned by Carla's sister, Laura, to snap up the latest CDs and T-shirts.
It was definitely a little overwhelming to finally see the Walkabouts do a full-length set, in front of a devoted crowd, with great sound (courtesy of sound man/engineer/co-producer Kevin Suggs). I wandered off into the chilly Seattle night, replaying the songs from the set in my head as I walked.
The party gave me more of a chance to talk with band members and other friends and family. However, my innate social graces prevented me from doing what I really wanted to do, which was to corner everyone one by one and interview them at length with a microcassette recorder. When I first heard about the Seattle gig I thought that I could use it to collect some exclusive photos and interviews for the web page, but then I decided that I would prefer to just soak up the experience as a fan, leaving the journalistic impulses until a future Seattle visit, perhaps.
Still, I managed to glean a few random tidbits that may be of interest. Here are some of them, in no particular order:
As the afternoon waned and the sun set over the distant hills, everyone gradually worked their way through the excellent food, birthday cake and homebrewed beer. And after Carla worked her way through a small mountain of birthday presents, the party began breaking up.
I joked with some of the people at the party about how my weekend in Seattle almost seemed like I had won some kind of MTV contest, "The Walkabouts Dream-Weekend Giveaway," or something. Except, of course, that it could only have happened in some kind of Bizarro World parallel universe where the Walkabouts outsell No Doubt and Bush, and where Carla graces as many magazine covers as Jewel.
Barring any sudden intervention by a US record label that would be willing to spend the amount of money necessary to promote the Walkabouts as they deserve to be promoted, it seems safe to assume that the only way to see the band in this country will be to catch them in Seattle. They'll keep turning out excellent albums, of course, but seeing them in concert adds an extra dimension that any serious fan deserves to experience.
If the Walkabouts can pack the Crocodile Cafe in Seattle, they could just as easily pack any similar club in any major US city (even allowing for a certain percentage of family and friends), if their albums were widely distributed here and if they had the right combination of promotion and college/public radio play. In the meantime, though, I can guarantee that the cost of a plane flight to Seattle and a hotel room would be a worthwhile price for any fan to pay. I would definitely recommend trying it when the Walkabouts schedule future Seattle gigs.
Return to the Crocodile
Thanks to El Nino, the next day proved sunny and clear (and remained so for the rest of my visit). I called Chris, who suggested meeting after the band's soundcheck at the Crocodile. Our meeting after a year of e-mail correspondence wasn't at all awkward, and I felt immediately at home surrounded by the extended Walkabouts family. They invited me along to a tasty pre-gig dinner at a local hamburger place. The Birthday Party
Chris and Carla kindly invited me along to a party that was being held the next afternoon to celebrate Carla's impending birthday. It was held at the home of Ben and Kathleen Thompson (Ben, of course, being the designer who has done such an excellent job on the Walkabouts album covers over the years). The setting was spectacular: a home in the Capitol Hill district, featuring a large deck offering a sweeping view of downtown Seattle, Elliott Bay and the hills beyond.
Warren Ellis (the Dirty Three violinist who guests on 'Nighttown') may be more than the wild-man fiddler he appears to be when performing with the D3. Chris says that Warren's an astute businessman who spends his time backstage working on his laptop and organizing his business contacts. Tindersticks, on the other hand, are far less serious than they appear. Chris said that his visit to one of their recording sessions involved a lot of humor and chaos in the control room, with people throwing things at each other. The Scott Walker song that the Walkabouts recently covered for possible use on an upcoming CD single is Cowbells Shakin' from 'Til the Band Comes In. Chris has actively tried to eradicate the Walkabouts' first EP, '22 Disasters,' from the face of the earth. Whenever he finds copies in record stores, he misfiles them in other sections or slips them behind bins where, he hopes, they'll never be found. In the band's early days, a particularly hedonistic gig at a college gymnasium came to an abrupt end after a woman fell through a glass skylight onto the gym floor and an ambulance had to be called. Chris Eckman's father talked of trying to soundproof the family garage so that the band's early rehearsal efforts wouldn't prompt complaints from neighbors. In spite of all the efforts, some of the sound still managed to escape by traveling along drainage pipes. Mr. Eckman also talked of covering up for the group with a few innocent lies when police came to investigate.
Set List
Nocturno (taped intro)
Follow Me an Angel
These Proud Streets
Tremble (goes the night)
Heartless
Nightdrive
The Stopping-Off Place
The Light Will Stay On
Rebecca Wild
Blue-Head Flame
Jack Candy
Prayer for You
The Leaving Kind
Encore:
Free Money
Grand Theft Auto