The Dusty 45s

Stone Gossard makes Dig It! about more

By Eli Badra, Contributing Writer

Though Stone Gossard of Pearl Jam fame did indeed play last night, this performance was secondary to the entire rest of the evening. In fact, what can be noted about Mr. Gossard’s performance above anything else was how perfectly he drew the spotlight away from himself: he didn’t have a band of his own, he got the bulk of his playing done with the first act, yielding the stage quickly to the other musicians, and his guitar was tiny. The evening did not revolve around Stone Gossard and the Roy Kay Trio, or the Dusty 45s, so much as around, and herein lies the main appeal for what would prove to be a highly successful concert featuring some incredible musicians, the support of an undeniably good cause.

The evening’s festivities came on the heels of “Dig It!”, a nationwide tour of musicians and activists banding together (pun intended) in order to spread awareness of global warming and the massive geological shift we are witnessing in our lifetimes. During the day, nearly two-hundred volunteers from around Boston congregated at the Audobon Nature Center in Mattapan, planting nearly three-hundred trees. The end goal of this entire movement is to have ten-million trees planted by 2010. A massive undertaking, to be sure, but one that seems absolutely viable, given the tenacity of those volunteers who attended the concert. The tour, sponsored largely by Timberland apparel, kicked off in our fair city last night, an evening of music and ecological discussion at The Wilbur Theatre, and will be holding similar events in New York, Los Angeles, and San Francisco through October.

Gossard played most of the time with a band called The Roy Kay Trio, a Seattle-based group of good old upstanding fellows, donned in nice straight ties and well-pressed slacks, who play rockabilly and early country-sounding music. They played a couple of solo songs before Gossard, tiny guitar in hand, along with Barbara Ireland of The Fags (an influential Northwest punk band/performance outfit of the 80s) took the stage. “Here’s one you might know,” Stone quipped into the microphone as he and Ms. Ireland led the band in a downtempo country cover of “Start It Up”. The two vocalists were perfectly in sync with one another, Ireland harmonizing intricately and beautifully with Gossard, swaying left and right, her arms following loosely as the song progressed. Cover songs would prove to be a theme of the evening, and the audience was treated not only to the Stones cover, but fantastically reimagined renditions of Johnny Thunders’ “You Can’t Put Your Arms Around A Memory”, the somber country tone becoming a poignant reflection of Thunders’ life. The band then played a great version of “Party Like It’s 1999”, and closed with a (relatively) rocking cover of Motorhead’s “Ace of Spades”.

The Roy Kay Trio would be back, but before they returned The Dusty 45s played some songs for the audience, who at this point were highly-energized and having a great time - people out of their stuffy theatre seats and dancing in the aisles, the organic root beer flowing freely from behind baskets of humongous organic apples. The Dusty 45s began by playing an old Woody Guthrie song with Stone (I don’t know what it is about heavy rockers going to country, but they seem to do it really well more often than not), and this would be the last time Gossard took the stage to play, humbly allowing the others to shine. Sans Gossard, The Dusty 45s played a few cuts from their new EP, which was released at the show itself.

The highlight of their performance, by far, was a stunning rendition of a famous Louis Armstrong tune, “St. James Infirmary Blues”, a perfectly-paced New Orleans-style song that began with the band slogging through muck (in a good way) and ended with an insane jam that featured all of the band members, each of them letting the audience see just how good they were once more before getting off stage. Billy Joe Huels, the leader singer/rhythm guitar/trumpet player, squared his shoulders, feet well-beyond shoulder length, as he blared a killer solo that sent the crowd into a delirium, and drummer Kelly Van Camp took everyone by surprise when he busted out a harmonica solo, all the while keeping perfect time. The bassist, meanwhile, evoked the spirit of Charles Mingus Himself, straddling his upright bass and letting loose. To top it all off, lead guitar Jerry Battista played another fantastic solo, having already won the crowd over with his rich slide guitar and sheer display of talent. The band left to a roaring ovation, and the final performer of the night, Johnny Cas – sorry, Vince Mira came on to play.

What is most notable about Mira is that the guy is only sixteen years old, and yet he sounds exactly like The Man In Black, though you wouldn’t think so listening to him speak. Mira is soft-spoken and sweet, his voice a thin and meek little thing. Then he starts singing, and this rumbling baritone comes out of absolutely nowhere. He regaled the crowd with several Johnny Cash songs, throwing in some Elvis and Hank Williams for good measure, as well as some originals.

The event ended shortly after Mira’s performance, but it was a pleasant surprise to see Gossard and Ireland, along with The Dusty 45s, rubbing elbows (literally) with the locals at The Tam a mere two doors down from the theatre. The fact that the guitarist from Pearl Jam spent time talking to fans while catching the Sox game is a real testament to his quality of character. Stone Gossard is the real deal. He cares deeply about what he is doing, and wants people to know about things that they should absolutely be concerned with. He utilizes his medium and his fame perfectly, never coming across as a hokey Hands Across America type celebrity, and genuinely being affable and nice to those around him. “Dig It” is a great event that looks to do some great things with some amazing musicians and incredible volunteers, and Stone Gossard’s performance and presence is a great way to get people more aware of what is going on.

Updated: 10/3/2008

- Boston Music Spotlight

The Dustys specialize in the archaic sounds of the '50s and '60s, with emphasis on the dance-happy backbeat that used to be the hallmark of the hit single, bouncing from rockabilly to jumpin' jive, barrelhouse blues, hard-core honky-tonk and other roots-heavy forms. Lead vocalist Billy Joe Huels has a larger-than-life and slightly out-of-control baritone that combines the authentic drawl of Johnny Cash with the mania of The Cramps' Lux Interior. Lead guitarist Jerry Battista supplies an encyclopedia of twangy licks that add a rush of cool electric sparks to every track, with Micah Hulscher's piano providing the push that sends the music into overdrive. Hits include "Play the Game," a Latin-flavored polka with a dramatic Elvis-style vocal, and a bluesy, extended take on "St. James Infirmary." The low-key production brings to mind the Sun Records echo chamber and adds to the music's blue-collar charm. - J. Poet - - Phoenix New Times

One of Seattle's most entertaining live bands adds a God-fearing gospel sound to an effervescent blend of swing, rockabilly, honky tonk, jump blues, country and western and mariachi on its new album, featuring a dozen originals and one cover tune. The title song is a tongue-in-cheek morality tale about the darker side of life. The album closes with a rambunctious version of Lieber and Stoller's "Saved," about a guy who used to "smoke and drink and dance the hoochie-coo" before turning in his devil horns. In between, is an intriguing blend of rockers and ballads punctuated by singer-guitarist Billy Joe Huels' south-of-the-border trumpet playing. Grade B. - Gene Stout -- SEATTLE POST-INTELLIGENCER

The Dusty 45s' latest record is an upbeat romp of gospel-inspired country tunes that will make even the sons and daughters of Utah pioneers feel they were born and raised in
the Bible Belt. "The Devil Takes His Turn" features honky-tonk guitar work, toe-tapping horns and plucky piano led by the rootsy vocals of Billy Joe Huels. Try not to bounce to the rhythm as Huels crows "religion is your spell/ throw away your passions/ or you'll go
straight to hell.
- Salt Lake Tribune --Sam Vicchrilli, Bryer Wharton and Dan Nailen

Flaming King
For its Buddy Holly bio-musical, the 5th Avenue turns to a local rockabilly showman.

By John Longenbaugh

Billy Joe Huels: not a fan of Cats.

Playing a flaming trumpet is one of those ridiculously theatrical flourishes that makes rockabilly so much fun. Like goths, rockabilly kids are a subculture with their own icons: devils, dice, and hot rods; Betty Page cuts on the girls and Elvis sideburns on the guys. Drinking (lots of it), packs of cigarettes rolled up into T-shirts. It's white trash raised to performance art, and the music is great to party to.

But it's not necessarily what you'd expect on the stage of the 5th Avenue. There the shows tend to be anodyne and family-friendly, carrying a faint whiff of Pine-Sol. So what were they thinking when they decided to cast Billy Joe Huels of the Dusty 45s—whose signature stunt is lighting his trumpet on fire—in the lead of the musical Buddy: The Buddy Holly Story?

"Traditional musical theater performers have a very specialized set of skills, like synchronized dancing and a particular sort of singing style," says Buddy director David Bennet. "But I really wanted something different for this show. And Billy's got it."

Bennett, who grew up near Holly's hometown of Lubbock, Texas, says he was also impressed with the rapport Huels' band has with its audience. "When I first saw them down at the Owl 'n Thistle, it just blew me away how much this crowd loved them, and how good they were at giving them a good time," Bennett says. "It's a crazy scene, but I imagine that there are similarities to what some of Buddy's early concerts must have been like."

In the rockabilly pantheon, Buddy Holly's the slightly nerdy brain of the outfit, an innovative prodigy who traded in sex appeal for boyish enthusiasm. (His cheerful, happy sound mimics a 15-year-old who's just figured out his first bra strap—"Oh boy!") His innovations included writing and producing his own songs, making famous the Fender Stratocaster guitar, and little vocal tricks like the extra hiccupy "uh" added for emphasis on songs like "That'll Be the Day." He wrote and recorded more than 30 classics, including "Oh Boy," "Everyday," "Maybe Baby," and "Peggy Sue," and his fans included Elvis, the Stones, and McCartney and Lennon, who named the Beatles as a tribute to Holly's band the Crickets. He famously died in the 1959 plane crash that also killed Ritchie Valens and the Big Bopper and that inspired Don McLean's signature song.

Huels admits he feels more comfortable doing the concert sequences in the show than the acting, though he's working with a coach. Still, the music has its challenges, too. "I'm trying to adapt my own style of guitar to this twentysomething from Lubbock," Huels says. "He was pretty much self-taught, and learning to play like he did is a challenge. He just bangs his guitar, man. But it's all part of trying to channel Buddy."

Along with Huels, the production features a slew of local musicians, including Matt Weiner and Mike Daughtery from Casey McGill's Blue 4 Trio, John Ackermann of Awesome, and Huels' sometime bandmate Kelly Van Camp as the Big Bopper. The list reads like a who's who of Seattle's bar rock scene, and it'll be interesting to see what occurs on opening night as the Eastside regulars of the 5th, in furs and sparkly dresses, meet the duded-up regalia of the local rockers.

Surprisingly, Huels admits that he has an affection for a whole host of musicals. "I wouldn't say I'm a fan of Cats, but I love Rodgers and Hart, Hammerstein, Cole Porter, Irving Berlin—I thought the 5th's production of White Christmas was great. I mean, I like jazz, rock, honky-tonk—good music's good music."

Does he worry that some of his hard-drinking rockabilly fans might think his love of musicals is, er . . . "Not cool?" he answers, then gives a big laugh. "I could care less. That's my attitude. I like what I like. Hey, it wouldn't be rock and roll to care, right?"
- Seattle Weekly

This is one rockin’ little unit, and the proof is no further away than your CD player, into which you should pop the new album, “Live in the Leopard Lounge @ KEXP.” Hit play and you’ll hear an accomplished gem packed with full-throttle Americana: great singing, a killer rhythm section and the superbly tasteful and concise Mo on lead guitar – all live, with no overdubs. - The Oregonian

Seattle quintet the Dusty 45’s don’t just dance around while fusing jazz, twangy country, roots rock and jump blues – they set shit on fire. "You’ll also admire a bunch of white boys with the balls to throw in some tejano style, with Mariachi horns framing ‘Two Beers in Texas’. - OC Weekly

True to their name, the 45s deliver a scrappy, devil-may-care country sound with a beat even city folk can dance to. Around since 1997, the five-piece band rallies behind the theatrical rockabilly style of frontman Billy Joe Huels, who leads the group in a high-spirited gallop through honky-tonk, blues, and rock without breaking a sweat. Their 2002 album, recorded at KEXP, won them plenty of new local fans, but their star is still rising—and somewhere Johnny Cash, Elvis, and Ray Condo are all tipping their hats. NEAL SCHINDLER - Seattle Weekly

THEATER REVIEW

THE BUDDY HOLLY STORY

CREATORS: Libretto by Alan Janes, songs mostly by Buddy Holly

WHERE: 5th Avenue Musical Theatre, 1308 Fifth Ave.

WHEN: Through March 4

TICKETS: $20-$73; 206-625-1900, 888-584-4849, 5thavenue.org or at the theater box office (no service charges on tickets purchased at box office)

The songs of Buddy Holly have gone through a similar process. They were known as "devil music" and worse 50 years ago. But now, as presented in the bio-musical "Buddy: The Buddy Holly Story," these songs are amiable and innocent -- exciting but in no way diabolical.

This is especially true of the "Buddy" production that opened Thursday at the 5th Avenue Musical Theatre. Billy Joe Huels in the title role has an energetic Boy Scout quality that is all charm and naivete. Well, almost all. At times Huels expresses a steely drive and ambition reserved only for Eagle Scouts. Huels also has the pipes and inflections to put across the show's anthology of ingenious rock 'n' roll, rockabilly and pop-rock hits.

As drama, "Buddy" is thin. Holly (1936-59) didn't go through the anguish that can give a certain heroic quality to other bio-musical protagonists: Patsy Cline, for example, or Johnny Cash, John Lennon and Ethel Waters. But Holly does lend himself to the ageless comic device of old-versus-young, innovation-versus-tradition and spontaneity-versus-inhibition.

By trade, Billy Joe Huels is a pop musician -- a singer/songwriter/guitarist/trumpeter and frontman for the rockabilly/Americana roots band the Dusty 45s. He is not a trained actor. So much the better. He has the unaffected enthusiasm and spontaneous goofiness that one associates with Buddy Holly.

"Buddy" ekes out a thin story line that follows its hero from struggles and frustration in Lubbock, Texas, to now legendary triumphs in New York and on tour.

Holly died at 22 in a commuter plane crash while touring the Midwest. His sensational career lasted 18 months.

While the Buddy Holly story is interesting, what makes "The Buddy Holly Story" appealing are songs and the way in which they are presented. As 20 hits -- including "Peggy Sue," "Not Fade Away," "True Love Ways," "Maybe Baby" and "That'll Be the Day" -- come and go, the production values become increasingly ambitious and elaborate.

At the beginning of the show, Buddy and the Crickets (played by Matt Weiner on bass and Mike Daugherty on percussion) experiment in a Lubbock garage. By the final scene, Holly is backed by a terrific big band. Trumpet, sax, violin and piano virtuosi play impressive solo riffs. Backup singers in fancy costumes perform studiously rehearsed choreography.

And there are sensational guest appearances by the Big Bopper (played by Kelly Van Camp) singing "Chantilly Lace," and Ritchie Valens (Brandon O'Neill) doing "La Bamba." As it happens, both Valens and the Bopper died in the same plane crash that killed Holly.

But clearly, the music never died.

In addition to presenting vintage Holly tunes, "Buddy" includes smoothly aged tributes to a gamut of '50s music, including Latin, soul, R&B and country.
- Seattle PI