Salvage Heart

The big fish in my admittedly shallow pool of band-of-the-year contenders looks a lot like Cincinnati's Heartless Bastards, a three piece whose 2005 debut Stairs and Elevators (Fat Possum) is that unlikely recording that starts strong, with a handful of catchy tracks, but evolves over repeated listenings to the point at which I can only point to a couple of the 12 songs as clunkers. Not bad for the notorious "debut" album, which ought to come with a kitchen-sink labelling more often than not. [NOTE: This is not a notorious debut album. I'm referring to those others, where there are some good songs mixed with bad ideas. Stairs and Elevators does not fit that bill.]

The Heartless Bastards (whose name comes from a Tom Petty cover band's) played their second Portland, Ore., show this year on Monday, November 7, at Doug Fir Lounge in a rare Monday night of great music. You see, across town, the Reigning Sound were setting the table for chanteustic cover band the Detroit Cobras at Sabala's.

A couple of dynamics at work. The crowds at the two could not have been much different for drawing on a similar listener demo. The Doug Fir: non-smoking, prompt openers at 9 p.m., headliners on by 10, off by 11:15. Background music for ad execs and [insert upwardly mobile 30-something slur here]? Maybe. But a music crowd, even if the staging looks a little like an extras cast from the "O.C." Or, the crowd that hasn't gone down to Berbati's yet.

Contrast Sabala's. Smoking. Also packed, but the faces, oh the faces...heroin still has ahold of some of this town's wobbly denizens. And, the ravages of alcohol and other substances. Some folks I hadn't seen much in the past few years, but one look and I knew where they'd been. And dirty. Punk? I guess. It didn't make the music any better or worse.

What the live act of Heartless Bastards impressed upon me is that
1) There is a new album of material ready to go that marks a progression from Stairs and Elevators, less anthemic perhaps, more involved, maybe better.
2) Singer, songwriter, guitarist Erika Wennerstrom (whose guitar wasn't loud enough in an otherwise big mix) has a ton of gift...a voice that can crawl up and around the high notes, but that has more volume and body than most out there.
3) Wennerstrom is maybe enough to carry a band, but she doesn't have to. Bassist Mike Lamping and drummer Kevin Vaughn provide a huge backbeat that give the songs such a pumping vigor...Vaughn's understated kit relies plenty on floor toms. It's a great sound.
4) Like another band with a vocalist/guitarist and a big bass (drum) sound, the White Stripes, the Heartless Bastards have inspired early enthusiasm from a fan base that learned the songs early and chants right along. This without any real push or reason for these songs to be known. Buzz buzzes, and my ears are still ringing.

Opening for the Heartless Bastards: Deadboy & the Elephantmen. Without further explication, it's a stupid name. A two piece, whose set I missed except for the final song, which I liked. I didn't get the sense that they were in love with the slot...when some drunk bellowed for another song, the drummer looked ready to acquiesce, but couldn't flag down the sound guy to get the house music turned off. The singer guitarist took his cue and walked off too cool to deal. They have a few MP3s on their site and are also on Fat Possum.

The upshot of the headliner closing at 11:15pm is that you can get across town and catch half the Reigning Sound (which managed to catch some of at least deadboy before its own gig) and then half the Detroit Cobras (Bloodshot artist page) before having to go home, shower, and go to bed. Reigning Sound is the ever-evolving vehicle for Greg Cartwright nee Oblivian, who was never my favorite O but who may have the most gas in the performance tank. His "Bad Man" which the DCs also covered, has ever inch the classic all over it. The sound was tinny and far away, despite the neck-high stage, a governor approach that lets the headliners top out. I love Time Bomb High School, and like its aspects reflected in the follow-up Too Much Guitar. Special secret songs inside included "Static Party" which was not, as you might think, followed by "And Then I Fucked Her." So much for hit singles on parade.

It was good to finally see the Detroit Cobras, whose show awhile back with the Dirtbombs I was shut out of...any night but a Monday it'd be tough to walk in. They were fine, with notable covers including Buck Owens' "Hot Dog." Hot dog indeed, photos of performers notwithstanding.