Shipe & Ebbage at work on the New Album

This morning, I’m in Seattle, with my bestest music buddy Ehren Ebbage, about to go into the studio for our 3rd of 4 stretches of work on the new Shipe album.

It remains untitled, but finally comes into creative focus as I understand where this material comes from, and who the character (or set of characters) is that makes this album. One of the songs is called “Love Belongs to Everyone,” which could to be a title cut. But I’m afraid it won’t do, because it’s one of those “means-the-opposite-of-what-it-says” lines, which nobody will get until they listen to the song a few times.

And besides, as Amy says, an album of that title, judged by its cover, will be easy to dismiss at first glance as a lazy collection of hippy, one-world, one-love musical platitudes. To that, I say, “What’s so funny about peace, love and understanding?”

“Ha,” she retorts. “If only that was what you had to say.” (The song itself is as dark as any I’ve written, featuring a highly disturbed character. But at least the chorus is uplifting… uh… in a kind of mournful way… You’ll have to hear it, I guess, and you’ll see what I mean.)

She goes on to ask, “Are you making another Sudden & Merciless Joy?”

No, I’m not. But, yes, this album comes from a restless, worried place. It’s not the domestic placidity of Yellow House. After all, I was ungrounded, moving from Eugene to San Diego to Yellowstone and back to Eugene, enjoying life, but struggling to get leverage in my endeavors. I should have indulged in sunny California mellow melodies, and wide open Yellowstone Big Sky . But this guy went further inward than outward.

That said, I insist that he’s not so existential as SMJ. He’s more like the Blue Rebekah storyteller who lodges at Yellow House.

If that has you wondering how this album is going to sound, all I can say is, “me too.” I’m in the capable hands of Ebbage, and I trust him all the way. Together, we’ll make sure the whole thing makes a good damn bit of sense.

New Pit Puppy

We got a new baby pit bull around here at West of Eden. His name is Otis. He loves the sound of the piano, settling himself down to help me work on new tunes for the new Shipe album (currently in pre-production with Ehren Ebbage).

We picked him up from Luv-a-Bull, a shelter & sanctuary here in Eugene, OR. Liesl Wilhardt, the hero who runs the place–compassionately and expertly–takes in orphaned Pit Bulls from all around North America. Likewise, people from all around the continent adopt from Luv-a-Bull.

Shipe-Ebbage Chaos at Hogan’s w/ Cargill

Hard to describe what happens in Clarkston on the Hogan’s stage. I warned Ebbage; we wouldn’t be lulling them with our sensitive side. So we get help from Scott Cargill (Lucas) on mandolin, and Jim on Jembe and Ryan on bass (with whom we’ve never played a note.)

At Hogan’s, you’re tucked in a nook, behind giant speakers, on a stage deeper than it is wide. If you’re not loud and rowdy, the music can’t make it all the way to where everybody’s sitting.

We’ve never rehearsed. Scott, my dear Lewiston friend, practices on his own, and greets us with newly crafted mando parts. We just jam it out like street musicians. All bravado and energy. Plus, he calls out songs I don’t play often, from my older rock albums–”Jasmine,” “Crawlspace,” etc. Also, he’s a Renegade Saints fan, so we bust out Al Toribio’s “Letter Home,” Mike Walker’s “Delivered,” and Dave Coey’s “Tara.” He’s got all the hooks down.

A pleasant surprise was how gorgeously Ebbage’s country side shined with the mandolin in there. Perhaps it wasn’t the best stage for his lullabies, but two-steppers like “Hurtin’ Me” and “The Way She Does It” sounded best of the entire tour. (I felt good on twangy lap steel, to boot.)

With the quasi-rhythm section, and Scott’s mad energy egging us on, why not have Ebbage play electric most of the night? His tone was so awesome, we just let him go off on long indulgent solos. (Did I mention that Scott’s right arm is a rhythmic machine? Sticking the groove while Ebbage shredded, especially on “Road Story.”

Speaking of “Road Story”, there were some devoted Jerry Joseph fans who called me out on my influences: “So, Shipe,” says this one dude, “Did you write ‘Road Story’ before or after Jerry Joseph’s ‘Drive?’”

“Okay, fine, you caught me,” I said. “Just for that, we’re gonna cover an actual J.J. song. Sit back down in your chair and soak up ‘World Will Turn.’” (Ebbage has gotten very good at thickening up our version with the electric… even without a rhythm section. I dare say we acquitted ourselves properly with that homage.)

But we pressed our luck. We should have stuck to the Miles Davis rule: Always leave them wanting more. Whether it be a musical passage, or a whole song, or a set, or an entire show, stop just short of topping out the tension by extending the climax. Restraint is key. For this Hogan’s show, the climax unmistakable; we were obviously done. But we were having too good a time to quit. As fatigue and one-Jager-shot-too-many kicked in, we ran the train of the rails. “These Days” took 15 minutes to get through three verses. I don’t think Ebbage knew what song we were playing, but he added some nice spacy notes, and the thing sort of went searching through the stratosphere–not the concise Jackson Brown song we’re familiar with. Last, and certainly least, “Crawlspace” turned into three and a half minutes of breakneck random chords.

Ah, well. That’s rock-n-roll for ya. I love it. That’s what makes it fun. You’re on stage, you’re in it together, and it ought to be a little risky. Like driving a car too fast around a curve.

Shipe Year in Review

The start of 2009 found me in North San Diego County. In the middle of my Yellow House run, it seemed a mistake to up-and-leave headquarters just to get out of Northwest rain. Sure, we lived on the beach, and the sunny weather was awesome, but they don’t have much of an original singer/songwriter scene in that surfer strip between L. A. & S. D.

What they do have, however, is a great Irish scene. Irish bands and Irish pubs. (Gentlemen from Flogging Molly reside there.) I was lucky to fall in with these folks. Ned Giblin, of Brehon Law, invited me to play Wednesdays at his pubs, J.J. Landers and R. O’Sullivan’s. So, I had regular gigs and a close look at a timeless style of music. (The influence of Ned and his cohort David Lally is bound to show on my next album.)

In Oceanside, I befriended Doug Whorly and several of his showcases at McCabe’s, where I met the lovely and talented road warrioress Jacqui Foreman. She honored me by covering my “Faith in the Man.”

It was at a Whorly showcase where my wife, Amy Wray, filmed the video of me covering The Pretender’s “Brass in Pocket.”

I didn’t bother working the L.A. scene. Too big, and like different country. But at the urging of my publicist Leona, I played a couple times at The Gypsy Den in Orange County. (Once with Trevor Davis.)

We lived down the beach from football star Junior Seau, who has a beautiful blue Pit Bull named Rocky. I mention the dog, because it was about this time that my connection to the international Pit Bull community really deepened. I was getting daily e-mails from dog lovers about my song “Pit Bull Blues,” which I gave out freely to anyone engaged in canine care and rescue. Soon, videographer Jeff Fleiss contacted me with the idea of making a video. By spring, he had hauled me up to L.A., filming me in front of the Coliseum amidst 25 Pit Bulls and their trainer, Dogman. He put it together with some excellent footage taken by Amy, and boom… there was a sweet video… still getting legs on the web.

Read more »

John Shipe’s Musical Family Tree

I was born in the sixties, in Springfield, Missouri. The younger part of my childhood was spent there and in Kansas. I describe it thusly: Like many children of heartland Suburbia during the 70’s, I had no inkling that my country was smack dab in the middle of its longest war. I knew about kites, swimming holes, tadpoles, picnics, Big-wheels, Ultra Man, Mr. Rogers, baseball cards, the Moon-landing, and my grandparents’ farm in the country. I didn’t know about Viet Nam, political protests, Kent State, or Watergate. I did however learn about race, poverty & segregation when my school had an exchange program with another school from Kansas City. Also, my dad used to take me down to the YMCA to play basketball. Though my parents never talked politics (Mom=democrat/Dad=republican) there was one thing they agreed on: teach the kids by example, to treat people well, and that racism is a fraud.

I was born “John Shipe,” but my mom re-married early, and my name was changed to “Schwartzman.” By the time I was 9, my family was in the S.F. Bay Area. At 12, I tried to learn guitar. It didn’t take. Baseball and soccer came more easily than transcribed versions of “On Top of Old Smokey.” (However, I did learn the intro to Boston’s “More than a Feeling,” and the wicked riff from “Play that Funky Music.”)


We soon moved to the Portland area (Oregon). More baseball, more soccer & basketball. Finally, at age 17, I got a classical guitar for Christmas. (I was a Yes fan, so I thought a classical guitar would send me on the path to mastering pretentious British Art-rock.) At first, all I learned was a bunch of Church tunes. Then, for a high school English project (Lord of the Flies), I accompanied my friend Matt Emlen on his “Evil Nature of Mankind Blues.” It was my first blues solo. I shredded…cheddar. In May of that year, I played “Wild Thing” for Stephanie Tromley at the Prom Queen ceremony–with Matt, my friend Tod Kelly, and Mike Walker who would later join me in college forming bands like Mission District and The Renegade Saints.

In College, at the University of Oregon in Eugene–home of Ken Kesey–I read a lot of books by dead white males, took a lot of creative writing courses, and formed a band called The Couch Potatoes with Warren Dexter (whom I had known since I was 13). We played The Doors, Eric Clapton, Z.Z. Top, Beatles, et cetera et cetera. I sucked miserable ass, and so did Warren, but with great passion! Our first drummer, Matt Reynolds, was awfully skillful. (He would later do stints with both Mission District and The Renegade Saints.) Our second drummer, Doug Nary was good too. (I heard a rumor that he played on tour with Kenny G–probably backed him up on the classic smooth jazz hit, “The Note.”)

Read more »

Kidney Stones and Broken Cars
Ashland, Oregon. Alex’s Restaurant.

According to Amy, it was the best that Ehren & I had ever sounded together in our lives. It sure felt that way. And we’ve been playing together since the 90′s.

But we paid the price, didn’t we?

Amy and I went early. We love Ashland, you see. As we were touring around the Plaza, Ebbage called us from Roseburg. His clutch had given out, good two hours North on I-5. He had to find a mechanic, leave his car and take a bus to meet us. But there’s no station in Ashland, so he could only make it as far as Medford. While I set up for the show, Amy had to drive a half-hour to pick him up.

He made it in time. From 8:30 to midnight-thirty, with hardly a break, we played damn near every song in our repertoire, with as much emotion and execution as we ever play. Very satisfying. (Our good San Diego friend–and “Yellow House” vid director–John Grimshaw was there, too.)

But I couldn’t help noticing the hot flames of pain shooting up and my back through the whole thing.

Back at the hotel. I ate my leftover Shrimp & Chicken Pasta and laughed at the Girls Gone Wild infomercial with Amy & Ehren.

Read more »

Shipe Ebbage Videos

My lovely wife took some footage of my latest gigs with Ehren Ebbage. She has starting posting. Here’s two new vids, a fun one and a serious one.

http://www.youtube.com/watch?v=AfOfVuEL3bQ