rob lynch: warbler

This double disc set is so good it scares me. Lynch, a longtime member of the Buffalo scene whose drumming has fueled bands such as the Contortionists and Numoniker, reveals himself to be a stunning songwriter, multi-instrumentalist and producer throughout the 25 songs that comprise "Welcome to Sound." Elements of the Flaming Lips, Soul Coughing and "White Album" era Beatles are in abundance, but their influence is subtle. Lynch bends the music he has absorbed to his rather twisted will, and the result is one of the most startlingly unique recordings this writer has ever heard. Bizarre, found sounds butt up against melodically detailed, pop infused gems; stark, haunting, cinematic soundscapes blend with Wilco-esque pop-Americana; Filtered and effected vocals fail to consume the emotional, deeply musical cores of these songs. This isn't just one of the best Buffalo albums of the past year, it's one of the best, period. Stunning.
-Jeff Miers, Buffalo News

Renaissance man Rob Lynch -- part rock and roll drummer, part evocative painter and part arts instructor -- is showing his work at NACC. Through September 6, Niagara Arts and Cultural Center will have Lynch's quirky, jerky paintings vibrating on its austere gallery walls. The work ranges from oddball skyscape-style whirls with an occasional recognizable object to more grounded, literal takes on different subjects. Lynch likes to say that his work is conceptual and narrative. Knowing that he's a much-respected musician, it's easy to think perhaps his work tries, in the grand tradition of visual artists attempting to conquer the experience of sound in paint and
line, to record raw onstage emotion (the lights, the girls, the sweat, the beer!). The show, 'From Brutal-Tragic to Funny-Cute,' is an arresting foray into the mind of one of the area's more interesting emerging artists. --
Nancy J. Parisi

While you're downloading, do yourself a favor and download Rob's track "No More Train Wrecks" (which features our good friend Joelle Labert). This is one hell of a gorgeous tune, people. It's so good it makes me jealous. Fans of Wilco and Sparklehorse will not be disappointed (although I can't imagine how anyone would be disappointed with it).

The Contortionists
"Get Sweet For You"
By Bob Silvestri
Consider this my acceptance speech for bonehead of the year award. Let me explain. I received The Contortionists new CD titled Get Sweet For You quite a few months ago. Due to my sometimes (OK, always) anal state of mind, I allowed it to become buried under the mountains of mail, magazines, LP’s and CD’s that is my basement music room. So while looking for something else I found the CD.
Well let me tell you, this is one of the most enjoyable CD’s I’ve heard in quite some time. The songs have the hip ness of Steely Dan, the pop sensibilities of Squeeze and the smart sophistication of Paul Weller. The lush harmonies and the melodic hooks make this a very sweet treat.
Rob Falgiano founded the Contortionists after his last group, Plaster Sandals, disbanded. The core band on Get Sweet For You consists of Rob Falgiano (lead vocals, guitar), Rob Lynch (drums, vocals), Tim Mroz (bass) and Guillermo Izquierdo (guitars). Also helping out is a who’s, who’s of Buffalo musicians including Cathy Carfagna, Eric Starr, Charlie Quill, Doug Moody, Tom Fenton, Ken Peterson, and Nelson Starr among others. The esteemed Marc Hunt from Ear Candy Audio recorded and engineered the project and co-produced it with Falgiano and Lynch.
The fourteen tracks run the gamut of influences as snippets of country, bossa nova, power pop and more form some incredibly smart and sophisticated songs. Love, loneliness and introspection are covered in Falgiano’s lyrics with a wry sense of scene. His references to “mountains of snow”, “electric trains” the club scene and the break up of Plaster Sandals, gives this a definite Buffalo feel.
The CD starts with the instantly catchy track “Girlfriend” which finds Falgiano cleverly blending naivety and sincerity as he sings, “If I asked politely do you think God would send me a girlfriend?”. “World A Little Cold” is a perfect three-minute pop gem with outstanding drum lines and cymbal rides from Lynch. He also adds vibraphone on this track. On this Falgiano looks inward as he sings, for all of us maybe, “This is not what I had in mind, Intended as a child, Am I all grown up?”. Another gem of a song is “Brilliant”; with it’s runaway bass lines from Mroz and beautifully textured guitar fills from Izquierado. “See and Read” is a scathing condemnation of today’s media landscape of call in shows and the sometimes-slanted view of the news that is presented to the public. “Nightfall” is a mellow country tinged song with a Steam Donkey sound as Charlie Quill and Doug Moody from the band lend a hand. Nine other tracks round out this perfect CD. I’ve been listening to this for almost three months straight, at home, the car, work, and I still find new and exciting things going on in each song. Accordions, handclaps, and well placed back round vocals keep turning up on repeated listening.

Rex Hobart and the Wrecks
Sportman’s Tavern
August 8, 2004



By Kevin J. Hosey

A large part of the Buffalo music community came out to say goodbye to Rex and Paula Hobart when Rex Hobart and the Wrecks played their final gig at the Sportsman’s Tavern before the couple left Buffalo for Santa Fe.
A crowd of several hundred people crammed into the club itself and overflowed onto the sidewalk and the small eating/lounge area in the alley, which had an additional barbecue grill/pit in place for the show. As well as people, the club and environs were packed with balloons, barbecue and booze, the makings of a great afternoon and evening.
Before the show, Hobart sat/posed for a photo shoot for a project (web mistress) Val is working on, and showed himself to be a natural without really being a ham. During the shoot, Val asked him who he would be playing with in Santa Fe: “Well, I’ll play with myself,” Hobart replied with a laugh, then added, “I’ve still got the guys I play with in Kansas City (The Misery Boys) and I hope what happened here is what will happen out there, that people will be interested in what I do. I suppose that’s how I can get back to here, by playing with these guys (The Wrecks) again, if they’ll have me.” The Wrecks are made up of Charlie Quill (Steam Donkeys) on guitar, Jim Whitford (The Possums, Jim Whitford and His Real Beat Band, ex-Pine Dogs) on bass, Rob Lynch (The Possums) on drums and John Dieckman (Steam Donkeys) on pedal steel guitar.





Hobart and company started their first set in fine, upbeat fashion, including songs early on such as the swinging honky tonk of “Between a Rock (And a Heartache)” and the more straight honky tonk of “Baby, Don’t Make Me Break Your Heart,” highlighted by some good pedal steel from Dieckman. Hobart’s singing sounded fantastic from the start and continued on songs such as “If I Can Sleep Forever” and what is probably my favorite of his newer songs. “Here Comes Nothing,” in which Hobart is trying to be loyal to his woman but is being seriously tempted by a woman who just walked into the bar he is in: “Here comes nothing/and nothing’s looking pretty good tonight.” The music is very cool and bluesy, but with enough twang coming through, particularly in Hobart’s voice, so that you don’t forget.
Hobart, who has a dry sense of humor, asked between songs where so many of these people were when he and the Wrecks played during the week at the Sportman’s Tavern during the winter; believe you me, those shows were one of the few ways, and no doubt one of the two best ways, to warm oneself up during the Buffalo winter. After an emotional version of the crowd pleaser “Jack Daniels, If You Please” and the slower “Loving on the Backstreets,” Hobart looked out and with a smile said “I’m glad we’re all sweating together,” despite the large fans blowing the hot air.
Between his deeper singing voice and sharp songwriting, Hobart sings several smart songs on heartbreak, including the twangy weeper “Take It Back (Before You Mean It),” and then performed a cover of one of his apparent favorite country artists, Johnny Paycheck (Hobart and Whitford once performed a mini-set of Paycheck songs during a songwriters circle), with “I’m the Only Hell (Mama Ever Raised)” and “Motel Time Again.” Hobart actually forgot how to start “Motel Time Again,” and had to ask his bandmates for the first line, which Whitford and Quill provided: “Look what you guys made me do,” he joked with the band, while the audience got a pretty good laugh out of the situation.
Hobart continued to play his own songs, new as well as older ones, with a couple more covers mixed in, including his new tune “The Dear I Left Behind,” solid honky tonk with a touch of rock edge; during “Hello Darling,” he took photographs of the audience, and was joined by Steam Donkeys’ singer/songwriter Buck Quigley for “Heartaches by the Number.” Hobart also sang a version of Waylon Jennings’ “Just a Good Ole Boy” as well as another newer song that is becoming a fan favorite, playing a particularly kicking run through of the swinging “Do Die Do Die.”




Hobart quickly became known as one of the most friendly, gracious and accommodating members of the country, roots and Americana community, as well as the Buffalo music community in general, with a sense of humor to go along with his musical talent; he and his wife, Paula, would no doubt have appeared on any list of most enjoyable couples had one existed in Buffalo.
Val and I were among the fortunate people to get to know them; we were among three couples invited to spend a weekend at the cottage/island part-owned by Whitford and his wife, Lynne O’Meara, in Magnetawan, Ontario, about three hours north of Toronto, a few weeks before Rex and Paula left for Santa Fe. Also invited up for the weekend was Tom Fischer, his wife Tracey and their twin daughters; Fischer played bass in the Pine Dogs and plays in the Outlyers, of which Whitford was a former “associate member.” To end the star-studded lineup, when the Hobarts and Val and I were leaving to drive home in our cars, we passed on the road, just before the parking area to take the tractor to the boat dock, Whitford’s childhood friend Gurf Morlix and partner Brende Fuller. Both cars of course stopped to talk with them before leaving.
Besides being an unbelievable four days of no electricity, running water or the worries of a political job for me, computer job for Val or Web site/writing concerns, the fun we had on this island through the company we shared it with are all but indescribable. Canoeing, swimming, hiking, relaxing, reading, making meals, doing nothing or doing whatever came up were what the doctor ordered for all of us, as well as our dog, the Rottweiler/German shepherd blend Walker Evans, who we brought with us to join Jim and Lynne’s dogs Merle and Hazel. Each night ended with a musical get together with Rex and Jim playing guitars, Tom playing bass and Rex doing most of the singing, with songs ranging from some of their own to those of Johnny Cash, Johnny Paycheck and others. Getting to know Rex and Paula in this relaxed setting (we’ve known Jim, Lynne, Tom and Tracey for about 15 years and Val worked for the Pine Dogs) was much better and more personable than 100 shows would have been.

The Steam Donkeys opened the show at the Sportsman’s Tavern and delivered a strong set of their country and country swing-based originals mixed with a couple of covers; the best songs included “Can’t Find a Place to Stay,” “Fever,” “Here I Sit” (with some fine steel guitar from Dieckman) and “Jesus on the 90,” and Hobart joined the band for “She’s Two Stepping Out on Me.”
The Hobarts will be missed, which points toward the effect they had on people while here in Buffalo, and will certainly be welcomed back when they return.

that was a good old buffalo westside houserocker! really fun...great drumming man...I'd play with you anytime...yeah lets do it again...asap. best, case

Peter Case
The Sportsmen’s Tavern, Buffalo
October 7, 2005 by Kevin J. Hosey
Anyone expecting a somber evening of voice and guitar sad stories by Peter Case was either surprised or disappointed (and didn’t read my interview from late September) by the show Case and the three-piece band accompanying him played; lots of blues, several cover songs and an easy, sometimes sloppy rocking 3 hours-plus of music is what resulted.
Joined at first by childhood friends Mark Winsick on guitar and vocals and Jim Whitford on bass and vocals, as well as drummer Rob Lynch, and later with childhood friend and bandmate Mike Bannister on drums and percussion, Case and company played Case originals, a couple of Plimsouls songs, some of Whitford’s songs and a bunch of covers, to the delight of a packed house. Things started with a bluesy, twangy cover of, I thought, “If You Hear Me Howling” by the Rising Sons, with Peter playing both electric piano and harmonica, but I can’t find the title. The band followed up with a fun run through of “Mystery Train,” as Case bounced around with energy, adding a nice harmonica solo and a better trading of solos blending into a duet with Winsick’s guitar. He modestly introduced his next song with “here’s a song I wrote, no, I made up,” before playing a slow, country and blues version of one of his best songs, “Two Angels,” also a bit fuller sounding than normal (it’s no surprise that Whitford’s previous band, The Pine Dogs, covered the song). When the band played a song with Winsick singing, Case was lost in his harmonica playing, to an intensity that belied his recovering from a back injury. A great Marvin Gaye cover (my notes and any actual Marvin Gaye song don’t even come close) featured rough, bluesy, hard hitting dance music, including a snarling guitar solo from Winsick, before Whitford took over lead vocals for the dirty blues of “Sugar in My Coffee Cup,” which, after a smart bluesy bass vamp by Whitford to start, turned into a virtual classic rock/Doors jam.
Case picked up his acoustic guitar and joined the band on “Lost in the Sky,” his ode of sorts to fear of flying, before returning to electric piano, and Bannister added some maracas before talking over from Lynch on drums for a battered “Bumblebee,” some country blues and a really good performance of the Plimsouls’ “Oldest Story in the World,” and ended their first set a song later.
The second set started with a rollicking “Shine Your Light,” with Case’s harmonica cutting through the mix followed by a long instrumental section highlighting Winsick’s guitar and Case on harmonica. As Case changed a broken string on his guitar, the band launched into a raw, rocking run through of a great Whitford song, “Crash All Night;” Case eventually joined in on electric piano. Case got the audience joining a sing-along on the chorus of “Something’s Coming,” a noticeably optimistic song on needed change,” and followed it with another of his songs, “Coulda Woulda Shoulda,” which he introduced as “a country northern song.” Case then strapped on an electric guitar as the band played several bluesy roots rock songs, and then got the already loud crowd screaming with a strong version of the Plimsouls’ “A Million Miles Away.” After earlier covers of Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again” and “Highway 61,“ Case noted, “here’s another sing along. We’re going to go through the whole ‘Highway 61 Revisited’ tonight,” before playing “Like a Rolling Stone” to end the second set.
The band returned for an encore that started with an extended roots rock/blues song, with Case seeming hell bent in his electric guitar playing, eventually ending on top of the speakers. Case and band then pretended they were done before quickly returning for a fantastic version of “Ice Water” and then ending the night with a cover of “It’s All Over Now.” After the show, Case said he had a great time playing with friends as well as in front of other friends and family, and people who had caught Case about as many times as Val and I have said it may have been the most relaxed and playful they had witnessed Case perform. Regardless, it was a damn good show.

Hey all
Our boy tore up the Sportsmens in Buffalo NY Friday night with his homeboys Jim Whitford on bass, Mark Winsick on guitar, Rob Lynch on drums and Michael Bannister on drums and percussion.

This was not your usual tasteful acoustic Peter Case gig. Our boy was there to rock the house and rock he did.

Besides thumpin' versions of songs from the Beeline album like Lost in the Skies, Shine, and Something's Coming (which Peter turned into a big audience participation singalong number), the repertoire dipped heavily into the rockin' rhythm n blues material that Peter grew up with -- One More Heartache, Mystery Train, Bumble Bee.

My head is still spinning. I videotaped the whole night and will have to watch the tape first, then I'll try to post a complete set list here.

Peter alternated between electric and acoustic guitar, harp, and Wurlitzer piano, often all three on the same song. He was on fire -- back problems didn't seem to be bothering him, although I wondered on leaving how he would be feeling today (Saturday).

All this in a little, tiny, Buffalo corner bar where half of the audience didn't even know who Peter was -- they just came out to see a live band. An amazing night, one I'll remember for a long time.


Posted By Tom Weber / Posted At 10/8/05 9:25 PM

Drums with Rex Hobart

SONGS OF FRED EAGLESMITH A TRIBUTE (TWANG OFF) NNNN

The notion of a CD collection of artists covering Fred Eaglesmith tunes – particularly one involving musicians not from Alberton, Ontario – may be perplexing for some, but there are literally hundreds of devoted "Fredheads" all across North America who follow Eaglesmith around, dress like him and hang on his every word. That fan base includes Kasey Chambers, Robbie Fulks, Slaid Cleaves, Rex Hobart and Jay Bennett, who contribute their own renditions of the sweeter side of Eaglesmith's repertoire, avoiding the redneck tirades and his goofy-great novelty numbers. The interpretations are astute and heartfelt and show Eaglesmith to be among Canada's finest tunesmiths. It just took a Chicago label and a non-Canuck cast of artists to get it done.

TIM PERLICH

NOW | JUN 19 - 25, 2003 | VOL. 22 NO. 42