Album Review: Deanna Bogart, Real Time

Artist: Deanna Bogart
Title: Real Time
Writer: Rick Galusha


When a radio station or a record review gets the latest offering from a recording label it’s usually accompanied with a “sell sheet” or biography. Few things exemplify the waste of the music industry better than “sell sheets.” Crammed with factoids and usless hype these one sheet bios bend the truth and include stupid phrases like, “writes like Bob Dylan,” as if anyone ever could.

Blind Pig recording artist Deanna Bogart’s latest album, ‘Real Time’ came with a sell sheet – which I promptly set aside in order to listen and let the music do the talking. Usually the San Fran / Chicago based Blind Pig records contemporary “blues” acts with a heavy 70’s rock music texture. Keyboardist, horn player and singer Deanna Bogart sure ain’t no blues artist – at least not in the common vernacular use of the word. “Gosh” methinks, “What’s the sell sheet say?” …”Adding the energy of boogie-woogie contemporary blues, country and Nora Jones-like-jazz, Bogart has created a unique fusion of musical styles.” I nearly fell over: the sell sheet was accurate.

Bogart began her musical career in a Maryland based band, ‘Cowboy Jazz’ where she learned to play western swing rhythms. Later Bogart moved over to the D.C. based, ‘Root Boy Slim’ band where she learned to play a suburban R n’ B sound. Subsquently, ‘Real Time,’ her seventh album, is all over the musical genre map but throughout the journey the playing is excellent, the songs have clear melody lines, and the arrangements are more than quick studio jams per most “blues” recordings.

On the track, “Bite the Bullet” Bogart plays a jumpin’ piano ala Marsha Ball that rollicks with a fast tempo and panoramic solos. ‘Table for Three’ borders on a Vince Guaraldi (Charlie Brown) like pianoscape that is jazzy yet very approachable for the nonJazz fan palate. The opening (and title) track is a well written tribute to the history of “good music” as Bogart sings about Lester Young’s days in Kansas City, The Woodstock festival, and ever her own tours in Europe. The second track, ‘Everybody Has a Story’ is very Gregg Allman-like in that it seems to be moving and once the song ends the listener has been transported along the journey.

This is a very good album – it is hardly a “blues” album - but rather a sound that transcends genre classification and is simply, “good music” and as Duke Ellington is atrtributed to having said, “There are only two kinds of music; good music and bad music.” The latest offering by Bogart is really good music and would make an excellent gift for your over-35 friend that loves music – and yes, that friend, could be yourself.

A life in Rock n' Roll...

I am submitting Rick Galusha as a 2007 Nominee for The Nebraska Music Hall of Fame.

The national music marketing machine creates an illusion that the only important music is major label, putting us in the “passive role of being only entertained.” Rick Galusha connects Midwest musicians, listeners, and concert goers to their own sense of place, identity, personal history and “active participation” through inspired expression, talent, volunteerism and creative dedication.

–Paul Ehernberger, Schuyler musician, film-maker & owner of Digital Ranch: 402-615-0532


A Chronological Musical Bio of Rick Galusha

(*) Rick Galusha with John Mayer and Mike Fratt (photo omitted)


1978 University of Wyoming
- KUWR Radio, Laramie, Wyoming, host (Rock)
- Branding Iron writer, University of Wyoming Student newspaper
- Student Programming Staff; Freddie Hubbard, Foreigner, Helen Reddy

(*) Rick Galusha with Stevie Nicks of Fleetwood Mac (photo omitted)

1979 – 1983, Homer’s Music Stores

1979 – 1983, Concert Security Services

1979 – 1983, University of Nebraska at Omaha
- 1979 – 1982, air Host, KVNO (Classical, Jazz, Blues)
- 1979 – 1980, Student Programming,
Day Time Bands committee: Pat Metheny,
- 1979 – 1980, Music writer,
Gateway Student newspaper
1980 – 1981, University of Newcastle Upon Tyne, (England)
- ‘Hall Ball Committee’ Music coordinator, - Eddie & the Hotrods, Dr. Feelgood

1986–2005 President, Homer’s Music Stores Independent music chain, with six locations in Omaha, Bellevue & Lincoln

(*) Rick & Barb Galusha with Pete Townsend of “The Who” (photo can be seen at www.KIWRBLues.PodOMatic.com)

1995 – 2005, Board, National Association of Retail Merchandisers
Retail Advisory Board Member

1995 – 2004, Independent Music Association Board Member

1995 – 2005, Member, Coalition of Independent Music Stores


1988 – 2000, KRCK, cable radio, hosting in my his basement, (no charge)


(*) Rick Galusha with The Rolling Stones (Photo on this site)

1989–Present: Radio Host, Pacific Street Blues

1989 – 1995, KKVU, KKCD

1995–Present: KIWR 89.7 fm (Sunday Mornings 9:00 to 12:00)

2004 – Launched podcast of PS Blues at www.KIWRBlues.PodOMatic.com


(*) Rick Galusha & Peter Frampton (photo omitted)
(*) Rick Galusha & Ian McLagan (photo omitted)


1990–Present - Writer, Print Media:

Blues Revue, Bluewax, Roots Music Report, www.HomersMusic.com, Metropolitan, Red Shark, City Weekly, Omaha World Herald, Smooth Review, Express, Billboard Magzine, Counter-Intelligence, The Rock, Reader,

- www.BluesWax.com
- www.RootsMusicReport.com
- www.HomersMusic.com
- www.BillWyman.com (guest)


(*) Rick Galusha & Alice Cooper (photo omitted)
(*) Rick & Barb Galusha with Aerosmith (photo omitted)

Concert / Event Promoter

1990 Earth Day Omaha, 17000 guests (Co-Chairman)
Jackson Berkey, Rick Kuethe,

1991 Earth Day Omaha, 17000 guests (Chairman)
Others

1999 Indigenous Jam, 2500 guests (Co-Founder, Promoter)
Jackson Browne, Wavy Gravy (Woodstock), Indigenous, others

2000 Indigenous Jam, 6000 guests (Promoter)
Double Trouble w/ Malford Milligan, Sue Foley, Melvin Taylor,
Billy Lee Riley (Sun Records), Chris Duarte, The Hoax
The Samples, Indigenous, others

Note: Broadcast on NETV in nine 60 minute episodes

2001 Indigenous Jam, 3000 guests (Promoter)
Rory Block, Davey Brothers, Corey Harris, Joe Bonamassa,
Chris Duarte, Indigenous, Kris Lager Band, Blue House, others

2002 Indigenous Jam, 3000 guests (Promoter)
Robben Ford, Davey Brothers, Corey Harris, Harry Manx, others

2004 Playing With Fire Concert Series (Co-Founder, Promoter)
Bernard Allison, others

2005 Playing With Fire Concert Series (Promoter)
Bernard Allison, Deborah Coleman, Hadden Sayers, others

Scottish Rites Hall series (Founder, Promoter)
Shelby Lynne, Jerry Garcia Band, Joe Bonamassa,
Jenny Lewis & the Watson Twins, others

2006 Playing With Fire Concert Series
Rod Piazza & the Mighty Flyers, Joe Bonamassa, others

Radio Interviews:

Bill Wyman of The Rolling Stones,

(*) Rick Galusha with BB King (3 interviews), (photo omitted)

Dr. John (3 interviews),
Ian McLagan (2 interviews)
(*) Rick Galusha with Bonnie Raitt, (photo omitted)
Robben Ford,
Jerry Wexler (2),
Shemekia Copeland,
Smoking Joe Kubeck,
Sue Foley (3),
(*) J. Geils & Magic Dick, (photo omitted)
Johnny Winter,
Jonny Lang,
(*) Mato Nanji (4), (photo can be seen at www.KIWRBlues.PodOMatic.com)
(*) Joe Bonamassa (3), (photo can be seen at www.KIWRBlues.PodOMatic.com)
(*) Little Milton, (photo omitted)
(*) Charlie Musselwhite (2), (photo omitted)
Luther Allison,
Tommy Castro (2),
Ana Popovic,
John Trudell,
Deanna Bogart,
John Wesley Harding,
Otis Taylor,
Johnny Bolin,
John Wooler (Pointblank),
Sean Costello,
Bruce Lundvall (Bluenote),
Anthony Gomes,
...And dozens of others

Rick Galusha, currently attending Bellevue University in the MBA rogram

(*) Rick & Barb Galusha with The Everly Brothers (photo omitted)

Music Favourites include: Kris Lager Band, The Rolling Stones, Louis Jordan, Joe Bonamassa, Indigenous, Graham Parsons, Sarah Benck & the Robbers, Anonymous American, Radney Foster, Jimmy D. Lane, Rodney Crowell, The Jam, Buddah Head Band, Sister Rosetta Tharpe, Johnny Winter, Southside Johnny & the Asbury Jukes.

Great unknown favorites; db Cooper, The Dancing Hoods, The Screaming Cheetha Wheelies, Jack the Lad (Lindesfarne), Tommy Bolin

Favourite albums include;

"Exile on Main Street" by the Rolling Stones;
"Supersonic" by Hadden Sayers;
"Blues Deluxe" by Joe Bonamassa;
"Derek and the Dominos Live" by Derek & the Dominos;
"Houston Kid" by Rodney Crowell;
"Kim Richey" by Kim Richey;
"Quadrophenia" by The Who;
"Ronnie Lane Live in Austin" by Ronnie Lane;
"The Mercury Years" by Rod Stewart (and Ian McLagan, Ron Wood et al...)
"Don't Be Late" Anonymous American;


(*) Rick Galusha with Miami Steve Van Zant of The Bruce Springsteen Band, and actor in the HBO series, The Sopranos (photo omitted)

Favourite concerts:
1. Southside Johnny & the Ashbury Jukes, Music Box bar, Omaha, 1980,
2. The Kinks, Memorial Hall, Kansas City, Kan., 1981,
3. Rolling Stones, Aragon Ballroom, Chicago, 2004,
4. Pearl Jam, Easy Street Records, Seattle, 2005,
5. Joe Bonamassa fronting Indigenous, Mick's Music & Bar, 2004,
6. Billy Lee Riley w/ Chris Duarte Band @ Indigenous Jam, Omaha, 2000
7. Robert Randolph & the Family Band, Orlando Marriott, Room 328,
8. Freddie Hubbard Band, Union Pacific Cocktails car, enroute Laramie to Denver, Nov. '78,
9. Rockpile, University of Newcastle Student Union, fall '80,
10. Sue Foley, "Lawnstock" (my front lawn), 2006,
11. The Jam, Aragon Ballroom, (Chicago) "fucking brilliant" Paul Weller, 1981,

(*) Rick Galusha, Joel Waldo, John Timmons & Mike Fratt with Kim Richey, Portland (photo omitted)

2007, nominee for Keeping the Blues Alive radio award
2007, nominee for Nebraska Rock n' Roll Hall of Fame

Album Review: Charlie Feravola, Charlie Jones

Artist: Charlie Feravola
Title: Charlie Jones
Writer: Rick Galusha

They say that if you listen long enough to an album you’ll begin to like it. That may be true but I have yet to comprehend the artistry of Don Cherry. That said, I must have listened to the Charlie Jones record a dozen times before it made any sense to me. It’s not that it’s not a good album, a really good album; it’s just schizophrenic. Half of the tracks haven’t a shred of blues in them. And when you’re expecting a “blues” album – well it’s confusing to say the least.

The 12th track, Half My Age, is a blues track begins with Pete Townshend’s guitar riff from, ‘Shaking All Over’ off their Live at Leeds album and then goes straight into a heavy blues jam that resolves into your standard table rocking blues song. The thirteenth track, ‘Ass Blackout / She’s Too Hip’ is a Texas shuffle feel and blistering guitar solo. On the song, ‘Too High to Cry’ Charlie Jones takes an enjoyable go at a B. B. King guitar and organ simmering blues number.

I would venture that 98% of the Contemporary blues audience come to the genre by way of the Rolling Stones or the Allman Brothers and the other two percent are chronic liars. That said, assuming you are still with me, Charlie Jones’ album is a golf ball off-the-fairway and lying in the rough. With every listen spin my enjoyment grows. Jones is using a very diverse basis of references to come up with something rare – a good rock record. For example the closing track on the album, ‘Jessica Emmers’ begins with a descending Nick Lowe like bass line and then moves into a Cheap Trick meets The Dancing Hoods pop sensibility. The lyrical 12 string guitar solo ala George Harrison, driving drums, crisp and clean sound are very Beatlesque. The second track, ‘Don’t Know How to Get to You’ has a strong ‘80’s ‘Beserkley Records / British wave ala a poppier Flamin’ Groovies or Rubinoos.

The band covers Norman Greenbaum’s, ‘Spirit in the Sky’ (recently covered by the Blind Boys of Alabama on their album, ‘Atom Bomb.’) With that catchy melody line in tact the band slows the song down until it hurts and then throws in a mean, nasty, psychedelic Hendrix like guitar solo. By the time the trumpet solo comes in at the end of the song the beat is at a heavy Z. Z. Hill’s ‘Downhome Blues’ pace that drives the song into your brain. God it hurts so good!

On the song ‘Charlie Jones is Dead’ the band sound very Mind Games era John Lennon as he sings some of the coolest lyrics I’ve heard in decades, “You know the one about Jesus Christ, He didn’t mind dying if the cause was right. He stepped right out of his shallow grave and he left behind a shroud with his laughing face. That’s good for him. But it ain’t no good for me. Cause if you kill me honey, dead is all I’ll ever be. Elvis was the King of Rock n’ Roll before he blew his top down in Tupelo. He died in the bathroom from prescription dope. But I saw him pumping gas down in Roanoke. That’s good for him. But it ain’t no good for me, Cause if you kill me honey, Dead is all I’ll ever be.” The song then breaks into a series of rapid fire single note fuzzed-up guitar solo that aches and soars amid a heavy curtain of rhythm and sound.

‘Sigh’ is Pink Floyd meets “Strawberry Fields Forever’ in a slow and languid pop setting replete with a heavy psychoactive ‘60’s drug-sound. Fresh and so totally out of place that two brief chaotic piano breaks that resolve into an acoustic strumming guitar and bongo closing are perfect textures to the highly considered structure.

The track ‘Sunday’ is a phenomenal track that sounds to me to be a bit ‘Sgt. Pepper era Paul McCartney, a dash of Robert Fripp’s abutting chordal dissonance with some Andy Sommers (The Police) thrown in. See? Schizophrenic and magnificent all at the same time.

This album is a highly niched exceptionally good rock-with-blues album. Because it defies a comfortable genre definition it’s not for everyone. It is well worth the time invested if you ears and your mind are WIDE open. No question this is one of the most interesting Contemporary rock albums I have ever heard!

Album Review: Carle Thomas, The Queen Alone

Artist: Carla Thomas
Title: The Queen Alone
Writer: Rick Galusha

While soon to be revived, The Stax recording label is a blip, albeit a wonderful blip, in the history of recorded music. But a few know the label beyond its biggest artists; Otis Redding and Sam & Dave. That Carla Thomas and her deejay father Rufus Thomas were there when Stax was still the Satellite recording label is the thing that trivia games are made of. Initially Carla was one half of the singing duo that included her father. As the title of this reissue indicates, this is a solo effort for her. (The ‘Queen’ reference actually refers to an early duet album with Otis Redding entitled, ‘King and Queen.’)

If one considers James Brown to be the Godfather of Soul and Aretha Franklin to be its Queen, it is reasonable to think of Thomas as one of Soul’s Lady’s-in-Waiting. This is a very good album, and it is wonderful to have a chance to hear it again, but it is neither earth moving nor precedent setting in that Carla Thomas’ hits, such as, ‘B-A-B-Y’ and others are unheard today and essentially obscure. Her talents are unremarkable but warm and pleasant; she is a crafted artisan that makes the most of her skills. The songwriting is classic Stax including compositions by the stables finest including; Issac Hayes, David Porter, Steve Cropper, Booker T. Jones, Eddie Floyd and others. Replete with strings and interesting rhythms, as heard on the 16th (bonus) track, I Wonder, these albums shows the interested and inquisitive how the Stax artists would come together and produces albums for their stars.

The album opens with the Burt Bacharach co-written tune, Any Day Now, and proceeds to become more soulful. The heavy Memphis Stax soul sound is wonderful and vibrant but it is not for everyone and nearly everyone will want to give this album a pass, not because it isn’t good (see my rating) but because it is outside the interest of most. There are no flashy guitars or rough hewn edges – this is pure pop music ala ‘1960’s. During its heyday Stax recording some of pop music's most interesting catalogue of songs, at least as far as I am concerned, and clearly Carla Thomas was an active player during that period. This is a well done album and with repeated listens there are those that will come to appreciate the foils of Carla Thomas but it is a small audience in search of great missing Soul nuggets.

Album Review: Danny Bryant's Red Eye Band, Days Like This

Artist: Danny Bryant’s Red Eye Band
Title: Days Like This
Writer: Rick Galusha

Danny Bryant’s Redeye Band fourth album, Days Like This, is on Britain’s largest independent blues label, Blues Matter – which is also a magazine in the United Kingdom. Concisely, Bryant is a protégé of American Walter Trout.

Heavy handed and immediately apparent, Bryant’s ten track album is drenched with loud guitars and songs that serve as platforms for extended solos. There are glimmers of songwriting as well as apparent references to Bryant’s influences. On the title track Bryant duets with Trout with complex arching solos that prolong notes and cascade back and forth between clashing cymbals. Bryant’s vocals are average and the lyrics are awash with clichés and too predictable.

On the track, Working Overtime, the band winds up the engines to use a Motley Crue-like riff to build into a late period Humble Pie-like arena rock anthem. This is a good entrance album for younger rock listeners branching into the blues genre although this is only a “blues” album in the broadest definition. Well played within a twang-bar genre the band cooks and compliments Bryant’s style which is often without texture or emotional depth. Too often Bryant goes for the rock god lick and thus ‘quelches’ a moment when less could be more. Like his mentor Bryant’s songs are vapid but entertaining and-of-the-moment.

Album Review: Jimmie Bratcher, red

Artist: Jimmie Bratcher
Title: Red
Writer: Rick Galusha

Since its inception the Blues have been closely intertwined with the Christian religion. None the less Kansas City based blues rocking Christian artist Reverend Jimmie Bratcher’s album took me a bit by surprise. This level has two levels; one level is a super smoking blues album that has tasty horn driven arrangements over a tight band and pretty good vocals. On another level Bratcher has a Christian orientated message and he’s going to beat that particular drum throughout the album.

Least I confuse you, let me say this differently, if you do not subscribe to Bratcher’s overt Christian lyrics you are probably not going to indulge this album; however, if you are willing to look past the insubtleness of the message, or if you are in agreement with The Word, this is a terrific album. Much like the Son House, Bratcher is also a minister that uses the blues to project his calling. And much like the much ballyhooed Jonny Lang, who’s latest album, turn around’ is clearly his best, replete with Christian message, Bratcher also uses his art to a higher calling.

The opening track of the album, ‘Bad Religion’ nails the listener with an exceptionally good track that is high energy, horn based and driving. On the third track, ‘Red’ which refrains Sammy Hagar’s song of the same name by repeating, “I see Red,” Bratcher burns slowly and then, with a rumble of the drums and some power chords, he amps up the energy with a guitar driven rocker that, well, would make The Red Rocker himself proud. Bratcher’s sassy guitar licks are minimal and spacious. This is no twang bar king but a competent artist writing good songs and also happens to be able to play and write at an A level.

On ‘Drive’ Bratcher’s pushes the piano playing of Eric Stark up front until saxophone player T. J. Herrick’s solos come into play. Once again the band plays the song using solos to add texture and suspense rather than using the song as a platform to show off. Refreshingly different!

Bratcher’s band dips into a harder pop country styling with an edge not heard on contemporary Nashville radio on, Dance With Me. Uber-producer Jim Gaines lends his many talents to the recording of this Kansas City based album. On ‘Restless for the Son’ Bratcher pulls out a seeped cocktail bluesy jazz number ala ‘Nothing Like the Sun’ era Sting.

By the eighth track, Three Chords’ Bratcher is show casing his songwriting skills when he musters an early Lyle Lovett style song with a Memphis horn swath and heavy, heavy blues guitar riffs. “Lend me three chords, three chords and no more. Somebody play me three chords and no more.”

Anyone’s that soaked in House’s ‘Grinnin’ in Your Face’ will recognize the power that a faith based blues artist can muster. Bratcher’s album is no different albeit his is a loud electric blues that is well written with an ear for texture and space. I would describe this as a niche album for guitar lovers that have a thirst for well written songs played by patient musicians that know, sometimes, less really is actually more. Wisely, Bratcher allows website visitors to stream his music at www.JimmieBratcher.com.

Interview: Robb Nansel and JAson Kulbel, label & club owner/ operators

When the Waiting Room opened in Benson earlier this year the words “revival” were on the lips of music fans and Benson merchants. When Saddle Creek Records opens their new music venue, Slowdown, this week the City of Omaha is hoping to keep the fire of north Omaha development burning. The opening of the Slowdown Club is the first in a series of planned events in the area including Filmstream Movie Theatre, Blueline Coffee Shop, Urban Outfitters clothing store and a restaurant to be named. The backdoor plan of providing a taxpayer baseball stadium for Creighton University at the expense of historic Rosenblatt Stadium has also been floated recently.

To an outsider the success of Omaha based Saddle Creek Records could be traced to the rise of Conor Oberst and Bright Eyes. As Oberst traverses the eye of the recording industry needle his momentum affords other label acts including The Faint and Cursive to gander opportunity. At a time when recording labels are downsizing and laying off thousands of employees Saddle Creek Records owner Robb Nansel, along with Jason Kulbel, is opening a club in Omaha’s NoDo (North of Downtown) area. The club will is Slowdown (“one word.”) Nansel’s reticent nature is legendary and off set by Kulbel’s easier demeanor.

CW: How do you define the music you are recording?

JK: Rock n’ roll.

CW: Some would call it “indie rock.”

JK: Yeah.

CW: What is indie rock?

JK: It’s changed but basically non-major label music. Indie labels were forming before the ‘90’s with labels like SubPop, Matador and Merge.

RN: (The band) Pavement is what indie rock meant, you know, quirky slacker rock.

CW: So tell me about the club. How do you know if it’s a success?

RN: By keeping the door open. We put a lot of thought and time into this…

JK: Rock clubs, good rock clubs, are usually in an old space, but Slowdown is being built from the ground-up. We want the bands that play there to have a great experience. We’ve worked hard to get it right; from the people that run it, to the layout, to the load-in area. We’ve got a wall so that it can be a larger club or just a small bar.

RN: We got lots of feedback from artists and we’ve been in a lot of clubs over the years. What we wanted to do was take an artist’s point of view; what’s the backstage area look like, how’s the load-in area work, what’s the quality of the sound. To use your term we wanted to define the “culture” inside the club. Even if an artist has a crappy show we want them to feel good about playing here, you know, do their laundry and feel we took good care of them – that playing Omaha was a good experience.

JK: I think it will be things like a full bar when we don’t have a show. We’ll have other things going on besides what’s going-on on the stage.

CW: So how is the (proposed) Creighton baseball stadium going to affect you?

JK: It’s going to help a lot.

RN: There’s a bunch more stuff coming down here. That’s why we chose this neighborhood. We have The Blueline Coffee Shop, Filmstreams Movie Theatres. Right now we’re looking for a restaurant.

CW: You picked your tenants right?

JK: We recruited them, yeah.

RN: Rachael (Friedman w/ Filmstreams) was a friend. We’d heard she was looking for some space in Omaha so that kinda fell into place. We just asked her about opening her theatre down here.

CW: What about Urban Outfitters Clothing Store?

JK: Robb knew a fellow that is their music supervisor.

RN: I’ve known Drew for a few years through shows like CMJ and SXSW. He gets records into their shops and we got a few into their stores. So I approached him, he understood the culture of what we wanted to do. I asked him if he thought there would be any interest. “There should be” he said so we asked their President – Tedford Marlow. Ted came to town to check it out. At first he didn’t want to do it but I’ve been badgering him for months.

JK: Robb went to Philadelphia for a music convention and met up with Ted while he was there.

RN: We met for a beer and he agreed to do it.

JK: They start building in July and plan on a fall opening.

CW: So is this the fulfillment of an aspiration?

RN: Sure. (smiles). As a kid all we had was the Cog Factory or a Legion Hall – not an ideal place to see bands, really. We knew how it could be done: what a benefit a decent rock club could be. So we wanted to have a better place for people to play.

JK: There are going to be more show and better shows in Omaha. You know in 2, 3, 4 years things are going to be so much better in terms of the number of shows coming to town and the quality of the shows. You are going to see a lot more people coming out to see live music

CW: Did you set out to put Omaha on the map sorta speak?

JK: Not intentionally. We just wanted to be successful; put out these records. Omaha happen to be where we were but no, we had no intention to change the cultural landscape or anything. Robb?

RN: We’re proud for Omaha to be known for music. Really the label was just to document the music our friends were making and that’s really all we were trying to do, document the music. Nowadays the label is a success – it has grown beyond our documentation.

CW: Surprised?

RN: Definitely. If anyone of us suspected or said this is where we’d be today we’d have said ‘you’re crazy.’ I supposed in the back of your mind this is what you hope happens.

CW: So how do you manage all this? A label, a merchandise company and the club?

JK: It’s just a natural management. I don’t really think about it. Working as close to each other as we do we have ‘meetings’ all day long and usually just end up talking about something in the doorway…

RN: I don’t know what peoples perception is but there isn’t a strategic plan. It’s very casual – if it feels right we do it: if it doesn’t, we don’t. I mean we do have structured weekly meetings but we’re pretty small, only eight employees.

CW: What about risk?

JK: We don’t think about it. You can’t or it will overwhelm you.

CW: Did you ever see the film, ‘Shiny Happy People?’ The movie about Factory Records (in Manchester, England). They opened a club and it ended up bringing down the label and everything…

RN: I have a slight fear…

CW: But.

RN: We’ve learned from some of those labels. Things to watch out for: things to avoid. In the late 90’s SubPop and Matador had outgrown themselves with too many records getting put out. They became too eclectic. For example SubPop overcame it by downsizing their roster and creating a new identity.

CW: So the lesson is?

RN: Don’t put out too much stuff?

JK: Thankfully there have been examples. We have relationships with all those labels (SubPop, Matador, Merge) so we can ask them questions.

RN: All of those labels have been super open with us. Jonathan Pearlman came out here once for a party. Super open guy – he will tell us what we want to know.

CW: So where did the name ‘Slowdown’ come from?

JK: Do you remember the band Slowdown Virginia? It was an earlier band with Tim Kasher, Matt McGuinn, Steve and Casey.

RN: That was our inspiration.

The Slowdown Club is located at 14th & Webster Streets just west of the Qwest Arena and north of the downtown area. The club is slated to open on June 8th. Originally the club was proposed to open on Saddlecreek Road near the Homy Inn and Sgt. Pfeffers Restaurant but the neighborhood protested over concerns of noise, trash and parking concerns. It was during this process that the City of Omaha engaged Nansel and Kulbel to help find a suitable location for the “picky” entrepreneurs. The Filmstreams Theatre will open on July 27th. Tickets for Slowdown will be available at www.Etix.com and Homer’s Music Stores.