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Well, well, well. For those of you who missed it, there was some pretty wacky stuff happening at 36 Hummock Pond Road on Nantucket last night. Between Daddy Wrall leaping into the pool fully clothed during our set and some folks leaping into the pool, um… less fully clothed right after we finished, it’s safe to say that somebody had a good time last night.

In a harken back to the days of Jive Sucka!, Miss Fairchild turned out a fashion show come house party that was, in one sage’s words, “very Nantucket.” Todd “The Rocket” and Trick Johnson rallied surriously for the stamina show to get to the island from their respective northern ports, and Samuel and myself interrupted our vacations to entertain the folks making their money available for the Nantucket Aids Network.

I’d like to take a moment as well to thank Mike V., a longtime friend and new member of Team Fairchild, for his help with gear, lighting and security. Hopefully you’ll see him on the road with us in the future.

Meanwhile, I’ll try to get some photographs up here soon of the madness that went down at this event, if they haven’t all been destroyed in some freak accident. It’s the kind of party people will be denying ever happened in a couple of weeks, and, well, we wouldn’t want that.

I’ll be posting some Fairchild History up on the site later in the week. Don’t miss the Trick Johnson interview and bio that’s up on the “About” pages. 


Here’s a recent live performance of “Your Hair” from the Middle East in Cambridge. Thanks again to Alex Mayer for his camera work. This song is on :Album which came out in 2004.

Hey people. We have our first band member interview up on the site today. Trick Johnson, the bass player for The Miss Fairchild Show, kindly sat down with me to talk about his life, the bass and Elvis Presley. Click here to read the interview.

Or just read this:

Since the summer of 2006, Miss Fairchild has featured Patrick “Trick” Johnson on bass guitar. Trick has played the bass for nearly twenty years in many musical contexts. He has a road-tested fluency in funk, rock, jazz, reggae, and electronic styles. Recently, he can be found as part of “The Difference,” the rhythm section that includes Miss Fairchild’s Todd “The Rocket” Richard. Together they have played with Joshua Eden, Andy Happel, Slowing Room and founding Fairchild member Samuel P. Nice.

Tell me about your first musical experiences: performance, listening, in the womb…

I was at an Elvis Presley concert when I was in the womb! Are you writing down my epression? [Curls his lip a la The King.]


I don’t really like Elvis.

Do you think being at the concert has something to do with your dislike?

It’s just not my thing, really. He’s alright.

Fair enough. Did you start with bass?

Piano. For four years. I don’t know how old I was. It was some lady who gave lessons at her home. Theory, songs, I did recitals. I also played saxophone for a long time. I started playing sax in fourth grade in the school band. Start with alto, then tenor and settled on baritone. I stopped playing after senior year in high school.

And what about the bass guitar?

I started playing in bass during sophomore year of high school. I took over the bass position in jazz band.

Besides jazz band, were you playing in other bands?

Yeah. At the time I think it was called grunge. It wasn’t quite punk rock, but it was pretty hard. Jazz band to grunge, pretty funny… I was listening to stuff like Fishbone, Mike Watt, Minutemen, Firehose. But at the same time stuff like Parliament (Osmium era) and early Funkadelic- psychedelic stuff. There was a lot of different music around. Just about everything i got into was from my mom and my older brother. Mom for the older stuff and my brother for more current stuff.

I know you love James Jamerson.

Yeah, that was from mom’s Motown stuff. And Jaco [Pastorius] was a major influence when i first started. I had started by taking lessons at a guitar shop, but after about four lessons, my teacher said that he had nothing left to teach me, that I was already better than him, so I was passed on to this guy, who wasn’t so much a teacher, but just a bass guy. He was into recording and he had an old Fender precision, ’62, fretless. It wieghed about fifty pounds. He let me borrow it for about a year along with a Jaco video. That’s when my style changed from a grungy thing to a more melodic thing.

Yeah, people have told me that they think you play more off the vocal than the drums; I agree that you really listen when you play. Was that an instructional video? It must have been some pretty advanced stuff for such a young player.

Yeah, in a way I was actually able to pull off that Jaco stuff, because I just wanted to do it so bad. It was more his feel than his actual playing that I was interested, so I could play the basis for a lot of Weather Report stuff, but i never really touched the bass solos.

Did that lead you to other music?

Around that time I met up with these twins- a drummer and a guitarist. That was my “improvisational” period. They opened my eyes. We would do shows that were completely improvised. It was more “pocket” improvisation, not so much “out.” I was pretty lucky- they were incredible musicians. That was around senior year of high school.

Did you feel freed from playing charts in jazz band?

Well, I always felt a certain amount of freedom, even in the jazz charts, when i played bass, because even then it was just chords that I had to walk on. I could choose how to play the changes.

So, was freedom a factor in choosing between bass and saxophone? Your bari charts were likely more specific.

They were, but I never stopped liking the saxophone. The bass guitar just took the place of the baritone. I never owned a bari sax; I just used the school’s and when I graduated, I couldn’t affort one. But I could afford a bass, so when i graduated that was it.

I love tenor too, but i just kept going lower. I sing low as well. I guess I’m a bass frequency kind of person.

I think that’s a common analogue. a lot of people play instruments in the range that they hear.

I play a little guitar, but i don’t and would never consider myself a guitar player. And that’s why I stopped playing alto, because it’s too high pitched. And too loud. [Laughs.]

Was there something about being so loud that made you self-conscious? It seems like you gravitate away from the spotlight, towards the more anonymous role.

Well, I’ve always been a low-key personality. Bass is like that. The stories that I heard about Jaco playing behind a curtain so he didn’t have to wear a suit, it always seemed like something that I might do. But, back in that timeframe i was also pretty influenced by Stanley Clarke. He was one of the guys I found that were like WOAH!

But he’s not so low key.

Exactly, that’s the thing: to take an instrument out of it’s context. It’s exciting to hear the bass do what people don’t expect it to do. Stanley got me into the fusion stuff. At that point it was kind of fun to see how fast you could play. And he didn’t lose the pocket.

When you play, you embellish, but don’t show off.

I’ve never been a show off. It’s not who I am. It’s not my style. I don’t like being the center of attention, but i like being a strong supporter. i know my place as a bass player.

What was the band with the twins called?

Travianna Farm. We played in Virginia for about a year and then moved to Raleigh, North Carolina. We pretty much had instant success, bought a motor home and went on tour.

Was this still completely improvised?

No, no. We had maybe an album’s worth of songs, but somehow we found ourselves smackdab in the middle of the jam band scene, so it was pretty easy to stretch our material for hours and hours.

How many people were in this band at this point?

Six people: The three of us, plus singer, flutist and percussionist. We traveled with our lighting guy and sound guy. We had our own sound system. We were competely self-contained. It went on for two yers in raleigh before the ship sank. The twins just couldn’t be around each other. They had an unflattering nickname. It wasn’t uncommon to see a drumset fly across the room and one time i showed up and a guitar neck was snapped in half. We all lived in one house, everyone involved in the band. Everyone. There was an artist, a poet, the lighting guy, a bunch of stragglers that leeched off us.

Even at the time, though, it felt strange to fall into that type of crowd. I did, however, grow hair down to my ass to look the part.

We were hanging with Aquarium Rescue Unit.. Just to hang with [bass player] Otiel. [Burbridge] was amazing. He was so humble and mellow, and to know someone who’s that incredible on his instrument, a virtuoso really, who didn’t act any different than us made me feel more comfortable and confident as a player.

After the band broke up, I moved to Virginia for a few months and then back to Raleigh. I guess I was in North Carolina about three and a half years total. I moved out of town the first time because of a bad breakup, but when the dust settled, I moved back and met my future wife, Amy.

And you left pretty soon after that, right?

Yeah, we met in February and headed to Maine together in september of the same year…

Then there’s a period when i didn’t do too much. I fell in a slump. I’ve always been really picky about my projects and despite getting a lot of offers to play in generic blues bands and the like, just wasn’t playing much. I was coming from the south and blues seemed a little different in Maine than it was in North Carolina. It was awkward for me. So much that I think I went a whole year without even opening my case.

And then, I actually got a gig in Virginia with this band Zakia (the twins hooked me up). The details sounded good: there was some money and gigs lined, so i said, “screw Maine. I’m going back to Virginia.” And Amy moved with me. We played a total of 2 or 3 gigs, and it fell apart. It was a bunch of lies. All of the promises went unfulfilled. So after a year in Virginia, we went back to Maine.

Not long after that, i answered an ad in the paper from Joshua Eden. It must have been a good ad for me to answer it. I had been looking for a while, but couldn’t find anyhing right. I went to various metal band rehearsals, but I found myself immediately thinking “Why am I here?” One band was called ‘Riot Act,’ which they didn’t tell me until I showed up. No thanks.

When i met Josh, I told him, “I’m tired of schlepping my gear. Let’s just talk and see if we get along first.” And I think that’s the basis of his and my musical connection. We hit it off as human beings and we have similar taste in music. We started going around a little bit, gigging in Boston, etc. We went through a bunch of members. Some drummers, a conga player. We even recorded an album with our second drummer as Eshai’s Story I guess it was a self-titled album. Right before the record came out, though, we decided that the music wasn’t really work with that particular drummer and suddenly Todd [“The Rocket” Richard] showed up. Josh found out about him through a local music promoter: Fresh drummer, new to Portland, looking for a gig. And he stuck.

Was the writing with Joshua collaborative or did he do most of the writing?

Josh and I actually wrote at least half of the songs on Eshai’s Story together. He would write the lyrics and guitar parts, and I would write in the Reggae and African influences. we would each bring parts to the table, shells of songs and we would work them out together. It was pretty much full-on collaboration.

When Todd joined, did it become 3 way collabo?

He definitely had full-on writing power for his parts and made a lot of suggestions, stylistically speaking. He helped us break out of a tendency for everything to sound the same. By that time, we were pretty much a trio, with the occasional rogue guitarist.

Did you gig a lot with Joshua?

We played, but we weren’t super busy. A lot in Portland, sometimes Boston.

How did you start playing with Samuel P. Nice?

All through Todd. I dont know, really. It was pretty strange for me, because I had never done anything like that, playing live instruments with a backing track. It wasn’t hard, but it was awkward. I’m good playing with a metronome, but I wasn’t used to it. Even playing with Todd was an adjustment, because he’s so consistent. I was used to pushing and pulling the tempo a bit and he’s rock solid. He tightened me up for sure.

So that was altready on its way before P.Nice & The Difference?


Maine Jazz Festival was your first gig was those guys?

Yeah, it must have been. It was a growth period for me, musically. I really liked the music, but it wasn’t a genre I wasn’t too familiar with. I had listed to hip-hop a bit (Tribe Called Quest and the like), but I had never played it. The whole electronic aspect was new for me, too.

Did it change the way you played the bass?

I think that’s the thing: you can’t let it change you. You’re the human element. It would be just as easy to program the bass, but that’s the point of having a live human being: you have to keep it from changing you. I’m not a robot, I never will be. You need to have a looseness. It’s the human element. You gotta have it.

I guess, in a way, all this is leading to Miss Fairchild. Between the funk listening you did as a child, the extensive gigging and learning to be in a band in North Carolina and playing with pre-recorded material, it seems you have all the elements.

Yeah. Good grooming. How many years did i see you guys as a trio and suggest that you needed a rhythm section? I like to think that I might have had a small role in getting the gig, by egging you on. It definitely worked out for Todd and myself: a good match all the way around.

So, tell me about Miss Fairchild. Say some good things.

[Laughs.] One of the best things is that it’s fun. It’s higher energy than any project I’ve ever done. It’s just fun. To play and to dance and see the crowd reaction. People just want to have fun and Miss Fairchild allows them to.

From my perspective, you pretty seamlessly added yourself to this music.

It was work right off the bat, but it does seem pretty seemless looking back.

What about the songs? I can say that hearring you play the songs has changed our writing for the new stuff (that you haven’t heard.)

How so?


It’s the old turn around.


I see that. Well, we’ve been inspired to write more with the bass in mind, but also simpler parts to leave more room for you. I assume that you will be taking over most of the recorded bass parts, so I want to relinquish some control over what’s happening and bring in your voice.

I feel like in these songs, i finally get the chance to play the kind of music i’ve always wanted to play. That’s why to me it feels seamless. I’ve always wanted to play good soul music.

We’re a little guilty of pushing you out of your comfort zone, too.

It’s good for me. Otherwise, I probably wouldn’t go there. Obviously I’m not used to some of the things you guys ask me to do, like soloing, but it’s fun. It’s nice for some to push you.

And honestly, you’ve pushed us. You’ve taught us a lot. Learning your preferences and needs has inspired us to make this music work for you.

Oh good.

So, what does future hold for Mr. Trick Johnson, bass player?

A house on the beach. World tours. What more do you need? [Laughs.]

I don’t know, a second bass cabinet?

That would be nice. A Fodera sponsorship, maybe.

We had a really fun show tonight at the Rose & Crown. For me, it’s really great to be back on the island after being away for the past few months. I can really appreciate the air here. In fact, the night ended for me with a really long walk. Of course, it was raining (just call me Charlie Brown…), but that did more to add to the brilliance of the night than it did to detract.

So, it was a good night. But one with it’s share of (let’s call them) interesting moments.

Those of you who have seen The Miss Fairchild Show recently are probably familiar with a moment at the end of show when our good friend Daddy Wrall exits the building only to return triumphantly to bring the show home. On this particular night, he decided to spice up the act a bit, by exiting through front of the building, only to return through back. In a flash. Mysteriously. He even had a helper, someone stationed at the rear of the building to open the door for him, in case it happened to be locked.

So, imagine the scene. Miss Fairchild (minus Wrall) are funking hard to “Pretty Little Thing.” We’ve just said. “I want it. I want it. I do!” and DW is racing like his life depends on it around the building, weaving through disoriented tourists, drunken bar patrons and mischevious teenagers. He’s arrived at his entrance. His helper is there, but so is someone else!

It’s (let’s call him) Boris, one of the bouncers. He’s physically restraining our lovely accomplice and telling Wrall that he can’t enter! It’s his job to assure the security of this door. (And fetch ice for the bar, I believe.) Wrall and (let’s call her) Angel frantically explain the scenario: “I’m in the band! I’m supposed to be on stage!”

Meanwhile, in the background, he hears my voice, “Where’s Daddy Wrall? Make some noise for Daddy Wrall. Get him back out here to bring the show home!” I’m beginning to lose the audience by this point. They’re troopers, but they’ve screamed themselves hoarse calling for the anticipated triumphant return.

“There. You hear that? They are calling for me! That’s my name! Let me in!”

“No. I’m sorry. I cannot do that,” Boris says, restraining Wrall by the forearm. The situation is looking bleak. Boris doesn’t understand the gravity of this situation. He’s preventing the logical and much-desired conclusion to Miss Fairchild Presents The Miss Fairchild Show.

After a few painful minutes of miscommunication and (yes) manhandling Daddy Wrall- who we all agree is one of the nicest, most gentle, friendly, non-confrontational people on the planet- leans in real close and says in his best Alan Rickman voice: “Get your [funking] hands off me mother[lover].”

And then, his head proceded to rotate completely around.

Boris let go all right, and Wrall, his newfound gumption lasting a moment longer, leaned in real close, one eyeball popping from its socket. Boris, intimidated by this small bearded demon, recoiled in terror and DW seized his chance, bolting past the grasp of the stunned bouncer and onto the stage.

“I just flew in from Bulgaria and boy, are my arms tired!” he yelled. And we finished the show.

Madness. Spinal Tap-ian madness.

Well, many thanks to Debba, Rick, The Crown & AM Group for a fun night. And you: thank you for coming. See you next time!


(By the way, I met Boris. Nice guy!)

I did not expect buttons to be the enduring important topic from tonight’s installment of Miss Fairchild Presents The Miss Fairchild Show at Great Scott in Allston, but I’m glad they are as they have a special significance for me.

We all have “nervous” habits. Some people bite their nails, some people twirl their hair. I, apparently, unfasten and refasten the buttons on my shirt and vest. I didn’t know about this habit until a few weeks ago when our friendly neighborhood lead-singer Daddy Wrall pointed it out to me. I don’t mind so much, really. There are many other nervous habits I could have (and I’ve tried most of them) that are be more damaging and evoke more concerned looks from my fellow man. (Who am I kidding? I’m talking about concerned looks from women.)

I revealed my habit in conversation and was asked, “so, are you nervous on stage?”

Oddly, no. It’s hard feel nerves when performing with Miss Fairchild. I’m so confident in the musicians around me that it doesn’t become a factor. Trick Johnson and Todd “The Rocket” Richard are such a solid base, and Misters Wrall and Nice are nothing if not inspirational. No, this nervous habit is reserved for other times.

You see, I’m the member of Miss Fairchild who is the probably least comfortable off the stage. Wrall and Samuel each have such a natural manner with people; To paraphrase Joni Mitchell: “They make friends easy, not like me. I wait for judgement anxiously.” And it’s not that I don’t like people. Far from it, I find people to be beautiful and complex. Even, this guy, who took it upon himself to attempt to unbutton my vest when I realized my plans to hit the dance floor. Yes, he’s nearly naked. Some boundaries may have been crossed here.

(I would say that he was too far gone to realize what he was doing, except he actually seemed to know what he was doing! He wore his shorts normally until he heard “Dazzey Duks.” In fact, I believe that to be the moment that his formerly endearing act jumped the shark.)

Interestingly, he might have succeeded in unbuttoning my vest, except, as a reversible vest, the buttons were on the feminine side, clearly confusing him. I’ve always found the explanations for why men’s and women’s clothing have the buttons on opposite sides. And this is only shirts we’re talking about. Pants buttons are always on the left. Explanations aside, however, variety of the spice of life. If I have to wear women’s clothing occasionally to diversify my nervous habits, so be it.

And it might even save me from being undressed in public.

Regular readers of this here online journal will know that I (Schuyler Dunlap) am a huge Billy Preston fan. Beyond my preference for music that rides that gospel/soul edge (right between sacred and secular, so you don’t know if that “she” the singer’s in love with is a person or a metaphor, where that “God” might mean something biblical or something more personal) and my once and future infatuation with all things Beatles, I find the late Mr. Preston a very capable songwriter, singer and musician.

Did I say capable? I meant to say transcendent. So, imagine my surprise when I turned on PBS’ Soundstage to discover Billy behind a keyboard, seated next to the man with the bearded voice.

That’s right: Michael McDonald himself.

I believe this to be the second of two Soundstage performances for the former Doobie Brother. Now, Mr. McDonald is a hero of Daddy Wrall’s and all of us at Miss Fairchild have a soft spot for him. It is often repeated that Sunday’s are for listening to Michael (and Larry Graham, too, but that’s it).

I still can’t, for the life of me, figure how he can sing the way he does without using his falsetto. His tone and timbre are unique and unbelievable and nearly inimitable (including the hilarious SNL sketch about the man.)

He had a great moment when he was introducing Billy where he went on about the Legends of the music industry and “many of us would like to think that we’re legends… not me, of course… but this man truly is one.”

The crowd disagreed with his self-assessment and I would side with them more quickly than with him. A singular musical voice (quite literally) throughout his career, Michael McDonald deserves any and all acolades. And any opportunities to see Billy Preston perform are special now that he’s gone. He usually crops up like this, unexpected, often uncredited, but always welcome and essential to the end result.

We (Miss Fairchild) often speculate on impossible supergroups (I’ll post some lineups on here sometime) that we’d like to see- some matchups that are so appropriate they are cliche, others so strange they would require explanation. Some include only living artists, others only ghosts.

Apparently, some of these supergroups are a little less impossible than we thought.

Despite having no pressing news and no fun travel stories about cheese and car trouble, I find myself with the time and the readership to necessitate frequent updates to this here blog.

[Ed. No pressing news, you say! What about the impending release of Ooh La La, Sha Sha… ??? That’s not pressing?]

Yeah, yeah, we’ve promising that for years.

[Yes, but this time it’s really happening. CD release parties have been announced in Boston, Providence, Portland, Nantucket & New York. There’s even a tour planned!]

Okay, fine, but that’s not why we’re here.

You see, I get requests to hear about the ins and outs of Miss Fairchild and believe me, I’d like to tell you. I’m sure you’d love to know that Samuel never finishes his breakfast or that Daddy Wrall uses seventeen feet of floss whenever he cleans his teeth. Maybe you want to know about Trick and Rocket’s sneaker preferences (they like shoes better, I reckon). Or maybe you want to know about me. I am, after all, your humble (laugh if you want, I won’t be sore) tourguide on this homemade rollercoaster called Miss Fairchild. Okay, fine, you don’t want to know about me…

I’m cool with that. This is a blog about the group, after all. What is Miss Fairchild like? What does Miss Fairchild like? (Well, the abstract answer to those questions will be answered soon in another blog.) As far as specifics go, however, I can say with a fair amount of certainty that we like The Band.

As in the Rick Danko, Levon Helm, Robbie Robertson, Richard Manuel, Garth Hudson Band. (Yep, the one with all the Canadians.)

Now, if the Canadian thing weren’t enough, and it damn nearly is (apologies to Levon, who’s from Arkansas), they’ve got a few things going for them. Hair, harmonies, herky jerky drumming to name three. But I’m not here to talk about The Band. I’m here to talk about The Band‘.

Yes, that eponymous second LP that they released in 1969. Now, there are a lot of great records out there that I could write about. And a lot of great records that apply WAY more directly to this thing we’re doing at Miss Fairchild, Incorporated. I probably will write about them someday. But you can figure what they are by yourselves. Look to our most basic musical influences like these folks for that. But The Band, they might go unsung among our musical heroes if I don’t say something. (And hell, it’s not as though this record is flying under the radar. A few people have said some nice things about it over the years.)

And I’m no expert or anything. Far from it. I’m just a guy that likes this record and wants you to give it a shot.

[Ed. Whew! Enough with the disclaimers! We want content.]

Okay, so what’s so great? Name six.

1. Richard Manuel’s Singing: Man, this guy has soul. And the fact that super casual fans only know Levon’s voice (also fantastic, by the way) is so wacky. Yeah, he sang most of the hits, but people, you’re missing out! My favorite Manuel moments are “When You Awake” and “King Harvest (Has Surely Come)” Manuel plays some fantastic piano on this record, but I have to be honest in saying that I could do without his drumming on “Jemima Surrender.” That could have something to do with the fact that number two on this list is…

2. Levon Helm’s Drumming: Call it ‘stuttery’ or ‘hiccup style’, I don’t really care. Point is, this man knows how to play a song. Not just a beat, mind you, but a song. I feel pretty strongly that he plays best on the songs that he sings. “Up On Cripple Creek: and “The Night They Drove Old Dixie Down” are obvious choices here. He manages to play very melodically, continually propelling the lyric and marking sections with his choices. And that doesn’t even count the way his drums sound. (Really good, I say.)

3. Feel Good Music: “Look Out Cleveland” is a great example of this. The best on the record with apologies to “Cripple Creek.” I happen to love Rick Danko’s singing, even if you can hardly tell it apart from Manuel’s half the time. They manage to avoid blending when harmonizing by singing with remarkable different phrasing. Great sloppy ending by the way…

4. Horns: Many thanks to John Simon and Garth Hudson for the beautiful counter-melody on the second verse of “The Unfaithful Servant” when Danko says “I can hear the whistle blowing.” That stuff is gorgeous.

5. Concept Songs: We have a union story in “King Harvest” and the American Civil War in “Dixie.” And great stories in all of these songs. It took me about ten listens to realize that I was listening to an album that wasn’t all ‘love songs.’ And as much as I love ‘love songs,’ this has been about twenty breaths of fresh air.

6. The Spirit of Cooperation: Hey, I know these guys ended badly, and I have read a few things about Levon Helm’s autobiography and Robbie Robertson’s alleged back stabbing. So, it ain’t all peaches, but this album is clearly a work of collaboration with equal contributions from some amazing musicians. The fact that so much of it was performed live is amazing (and completely believable based on some really poignant audible ‘mistakes’).

In the end, the songs are great, the production really breathes and the energy of the record is palpable in each song. As Miss Fairchild moves more and more toward that Gut Bucket, Tabacco Chaw, Hoo Doo Country-Funk that we all (Miss Fairchild, that is) like so much, look for some Band to shine through…

Yo Uncle!

Check This Out! An article en espanol about how Miss Fairchild is going places!

Thanks to Fran Rodriguez for letting us know about her wonderful article!

What, you don’t read Spanish? This is is how Google translates it (and it’s especially fun to read out loud):

“Providence, Rhode Island, are a city relatively small for the American standards. Something as well as Salamanca, so that we become an idea, also with much university life. But the size does not matter to lodge surprising places like AS220. A garito is this one that could well appear in one peli of Scorsese in New York type “Jo what night”, for that reason it perhaps is in the Empire street, in he himself center of Providence but in clear reference to the Empire State (New York). With an important musical base, like room of concerts alternative, also offer exhibitions or performances or artistic variants of diverse nature. Special memory with affability a painting exhibition where all the works had some reference to the mark of Goya food, fundamental for any emigrant Spanish in the United States to the product search of the Iberian Peninsula. We could say that it had certain reminiscencias of Warhol, but with a connotation much less glamourosa and of greater authenticity. By another part, in the building where is as220 are apartments destined exclusively to artists stops that they can develop his work of a way more comfortable. He is not bad. The past Saturday the 14 of July AS220 lodged their annual festival of music throughout the day and great part at night. They mounted a scene in the street, just in front of the doors of the room, and the street filled of young people with desire to pass it well. That way they passed multitude of bands of all type and condition, but there were chavales that shone of special way. Miss Fairchild is able to handle to the public his ill. In addition to a way totally shameless and without complexes. One says that they are a group future-funk, future- pop or strange combinations of together labels, but basically he is as if we took to a group disc, pop or funk of the 70, we maintained his beards, his indescriptibles trousers and their desire of march, and we transported them to century XXI. But to that definition him lack something very important. Perhaps most important of Miss Fairchild. The gravy. Or what is that makes move skeleton to hundreds of twentyish in these times. And it is that Miss Fairchild has a control of the scene frankly impressive to be chavales. No they leave minutes died in scene, everything is bound, they alternate very well different rates, maintain attention of the public constantly, uses multitude of scenic tricks like removing to posters with the letters from refrains or objects related to the songs, they play constantly with the public and, in addition, like it hoists, have a singer with a personality sweeping. This uncle is a true star although he can that still does not know it. The band is headed by the vocalista Daddy Wrall, that also touches to percussions several, Samuel P. Nice to the keyboards, plates and saxo high and Schuyler Dunlap to guitars, keyboards, flauta and voices. In addition they are accompanied by a low and battery very solid but that I do not have nor idea of its names. They are going to remove to his second east disc month from September, Ooh, Shah Shah, but without a doubt some that their fort is the direct ones. Not me it would be strange to see turning them soon by celebrations of average world. Pure diversion. The magic of music in direct in action once again.”

Here you go folks. You’ve been rocking this disc for a copule of months already. Now go support your new favorites! (Yes, of course I mean Miss Fairchild.)

We’ve Been Waiting- Graham Central Station
Number One- Miss Fairchild
Soul Power- James Brown
What?- A Tribe Called Quest
Am I Wrong? (Wremix)- Keb’ Mo & Daddy Wrall
You’ve Been In Love Too Long- Bonnie Raitt
Big Time Sensuality- Björk
Two Clouds Above Nine- Deee Lite
Got To Give It Up (Part I)- Marvin Gaye
Tighten Up- Archie Bell & The Drells
What a Fool Believes- The Doobie Brothers
Funk ‘n’ Roll (Dancin’ in the Funkshine)- Quazar
One With The Freaks- The Notwist
Ooh La La- The Wiseguys
I’ll Be Around (House Mix)/ I’ll Be Around- Cee- Lo & The Spinners
I’ll Be Around- Cee-Lo
Call Me (Collage)- Cee-Lo, Al Green, Tweet, Prince, The Spinners, Paul Simon

Vanilla Place- Miss Fairchild
I Am Music- Common
Peg/We’ve Been Waiting- Steely Dan & Graham Central Station
Stand Up and Shout About Love- Larry Graham
Wouldn’t You Love to Love Me- Taja Sevelle
Puppy Love- Nate Dogg featuring Daz, Kurupt & Snoop Dogg
Cash In My Hands- Nice & Smooth
Don’t Be A 304- AMG
More Than A Feeling- Boston
Hole Hearted- Extreme
My Heart Belongs To You- El DeBarge
Green Light- El Niño & The Southern Oscillations
Ooh La La- The Faces
Hell’s Bells- JedSed & Bad News Jones
Pernalonga- Di Melo

New Thang- Miss Fairchild
You Make Me Feel- Dag
‘Til I Get To You- Nikka Costa
Have Fun- Speech featuring Za, Victor Wooten & MC Love
Fun- Tony Toni Toné
Fun- Sly & The Family Stone
My Ex-Girlfriend- Tony Toni Toné
Soul Clappin’/Excuse Me, Mr.- Sly & The Family Stone & Miss Fairchild
Damn Girl Squared (P.Nice Remix)- Kid Sister & Justin Timberlake
Release It- The Time
Psychoticbumpschool- Bootsy’s Rubber Band
State of Shock- The Jacksons & Mick Jagger
Killer- Seal
Tamborine- Prince
Steppin’ In Her I. Miller Shoes- Betty Davis
Steppin’ Out On The Floor- The Gap Band
Yo Momma Yo Daddy- Suga Free

Trust Game- Miss Fairchild
Ready Or Not Here I Come (I Can’t Hide From Love)- The Delfonics
Gotta Get Up- Harry Nilsson
Nicotine Prom Queen- Don DiLego
The DJ Stayed Home- Bree Sharp
Muthafucka- Xzibit
Jelly Man Kelly- James Taylor