The Spin
Dire circumstances
It’s been an exciting couple of months for Paul Burch—first David Cronenberg’s A History of Violence, which features Burch’s “Life of a Fool” under the opening credit sequence, hit theaters, and a few weeks later, Burch and bandmates Marty Lynds (drums) and Jim Gray (bass) headed to London to do some recording with Mark Knopfler at the guitarist’s British Grove Studios. This Friday, Dec. 2, Burch and the WPA Ballclub will celebrate their 10th anniversary with a show at the Family Wash. The Spin recently caught up with him:
How did the Knopfler thing come about?
He’s very supportive, but I still don’t know how or why. We have mutual friends and slowly, by accident, found ourselves discussing the properties of various rare small microphone tubes made in German and Austrian basements. These were exported into the world’s great microphones until there were no more to go around. Now it is nearly a lost science, much to the dismay of delicate singers such as ourselves. British Grove Studios, which Mark dedicated to the art of analog recording, has many of these, and he kindly asked me and the WPA to come and turn on the lights to see if the place was ready to go.
So did the studio just open?
I believe so. I’m reluctant to say much about it. It’s kind of like Willy Wonka’s factory. It’s a very special place run by very talented people and not many cross through the gates. I made sure all of us returned our Ever-Lasting-Gob-Stoppers when we left, just as we promised we would, so I hope we can come back.
Where was the studio?
It was in a neighborhood called Chiswick. Lovely neighborhood with Greek, Indian and Thai restaurants. I found a get-a-free-Gromit-mug-with-your-tea at the grocers, which, sadly, you can’t get here.
What was it like working with Knopfler?
He was a great guy, and I would have loved to have done more with him. I don’t want to reveal all because he’s private and so am I, but what was most exciting was when he touched a guitar and all of a sudden we all gasped—it was him. The real enchilada. He is one of the few musicians in the world who has a recognizable sound. B.B. King. Duane Eddy. Charlie Christian. Jimi Hendrix. Mark Knopfler. There’s no mistaking it. He’s got a twinkle in his eye. He’s very modest and an extraordinary cat.
What were you working on?
I’m working on a new album, and I think we got side one done, which for two days’ work is good progress. I don’t have a title yet, and if I can find someone to release it, it will come out next year.
Rap party
It’s been a year now since Rob Ski began his nightly radio webcast highlighting the best of Nashville’s underground rap scene. The show’s website, nashvillerap.com, has become a meeting place for local rappers, producers and graphic artists, who use the guestbook to network, promote shows and CDs, and give shoutouts. To celebrate his success, Rob Ski is hosting the Nashvillerap.com 1-year Anniversary Smash, Saturday, Dec. 3, at The Cut (on George L. Davis Boulevard under Anthony’s Showplace). Scheduled to perform are some of Cashville’s finest, including JellyRoll, Stix, Mike J and Toney. The party will also feature the unveiling of the first cover of Nashvillerap.com’s new print magazine. Doors open at 9 p.m.
Dead ahead
Gigs with Sam Bush and lots of sessions have been keeping bassist Byron House pretty busy these days, so it’s been quite a while since he’s had time to break out his Grateful Dead side-project, Dead Set. That situation will be rectified this Wednesday, Nov. 30, when House & Co. hit the stage at Exit/In. Joining the band will be keyboardist Reese Wynans, who’s played or recorded with everyone from Stevie Ray Vaughan and Buddy Guy to Brooks & Dunn and Gretchen Wilson.
ik ben get colorful
Also on Nov. 30, ik ben, featuring the sibling harmonies of Scott and Brian Hylbert, will celebrate the release of two new EPs with an 8 p.m. show at The Basement. According to Scott, Orange features “rawk with a ‘W’ ” and Red is a “masterpiece of moody, textural wankery”—a little something for everyone.
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