Charlottesville - Since the Magazine33 team headed downtown to the Southern on October 15 to see William Walter and Co., I am impressed to discover that I am still at a loss for words to describe what it meant to be a part of the event.  This is rare for a writer, and I only hope this review justifies my truest feelings.  As Hans Christian Andersen appropriately stated, “Where words fail, music speaks.”   This quote cuts to the inner core of my opinion about both performances of the evening, which were Jackass Flats and William Walter and Co.  As well as my initial exposure to William Walter and Co., Jackass Flats emerged as the opening act that kicked off the evening with heartfelt recitations, thrusting the night into a layered tier of musical intricacies and enlightened rhythms that  have left me somewhat surprised and stunted.  With the collection of exceptional musical in this area, it is nothing short of amazing how I continue to experience unbelievable musicians who compose great music, while leaving marked inspiration.  Jackass Flats and William Walter and Co. were awe-inspiring to a degree that was eerie to behold.   

 Jackass Flats, composed of Stephen Kuester (guitar, pedal steel), Travis Rinehart (banjo, guitar), Eddie Carlton (bass fiddle), Cory Potrafka (keys, harmonica), and Scott Lewis (drums) opened the Saturday night with an appropriate, carefree attitude.  Traveling from Richmond, Jackass Flats displayed a modern twist on a bluegrass/Americana recipe wh ere their enthusiasm shone through the crowd, paving the way for a night of rock ‘n’ roll splashed with a little country twang.  During their performance, it crossed my mind that “Kick Ass Flats,” would be just as fitting a name.

William Walter and Co. followed, taking the stage ferociously as a collected fanbase anxiously awaited for them to begin.  The band includes William Walter (lead vocals, guitar, harmonica), Tucker Rogers (electric guitar), Stuart Holme (bass), Adam Silvers (keys), and Nate Brown (drums).  With four completed albums - 5 Live (2009), Late Night Solitaire (2008), Rough Around the Edges (2007), and The Story So Far (2006) - it is apparent William Walter and Co. is on a rolling train moving fast along a destined path.  In 2008, William Walter was voted “Best Emerging Artist,” at FloydFest.  In 2009, his song “When I Leave for California” received national radio play, as well as a nomination for the international songwriting competition.  In 2010, he was voted “Best of C-Ville.”  With these notable accomplishments, it is not surprising the band’s momentum is gathering continued experience, thrusting their progress and familiarity. 

 As their first set blasted forth the band's talents molded together, creating an incredibly tight formation of insightful instrumentation.  The rhythmic beats, along with the harmonic accents and perceptive lyrics wove their song construction together in beautiful allure, leaving you pining for the next rendition.  William Walters’s vocals stem from experience, and you feel it as he echoes his lyrical story.  Combined with his control over his guitar as he stomps out the beat, it is evident to all that he loves playing and singing, as well as feeding off his other band members and the dancing crowd.  When paired with Tucker Roger’s mean electrical guitar, it was overwhelming how well these two complimented each other.  At one point in their performance, it was as if Roger’s electrical insane guitar riffs shot through me and demanded the attention of everyone there.  I was left with a feeling of wonder, a feeling that persisted throughout the performance of William Walter and Co.

 As I stated in a previous review, my ears tend to capture the beat within a performance first.  For some reason, I continue to be drawn to the drums and how the bass plays off the drums, almost like a dueling battle of rhythmic opponents.  As Stuart Holme and Nate Brown played, I observed their intense control within the core beat.  The beat was clear and strong, never losing its buoyancy, twisting and turning, yet never getting off track in the process.  As I talked to Holme afterwards, I asked him how long he had been playing.  When he  responded, “Probably for about 30 years,” it was evident in his complex arrangements that there was no coincidence in the  sounds coming from that deep and dirty bass.  During each movement, it seemed as if each member became deeply entranced as they welcomed the music’s resolute direction.  

Lastly, Adam Silvers provided sweet, harmonic accents upon the keys, that synchronized beautifully with William Walter’s bluesy harmonica.  Silvers would intermittently provide different influences, such as ragtime and gospel.  As his background in classical training dictated his inclination for the modus operandi, so did his killer playing and pointed finger placement.  Ho wever, his skill seemed to be much more indicative of his musical personality as opposed to his classical training.  There is no way you can fake the way Silvers wails upon the keys.

In conclusion, William Walter and Co. put on an unforgettable show.  As they played songs such as "When I Leave for California," "Happy Times," "Without My Clothes," and "Treetop Flyer" (which was produced by Tucker Rogers), each song accentuated their individual capabilities yet highlighted their collective passion.  They also performed "Could You Be Loved" in memoriam of Bob Marley’s birthday.  The only criticism I have of their gig that night is that they did not play longer.  This is a band that thrives together, unwavering, letting their inspirational attitude give way to badass behavior.  William Walter and Co. also allows the music to evolve on its own, as they have obviously evolved together as a highly talented rock ‘n’ roll band.  I cannot wait to see them in the future, and for anyone looking for something special, be sure to check them out immediately.  Hopefully a new album awaits the many William Walter and Co. supporters, and as Walter states, “I cannot wait to make another album."  He contin ued, "I want this new album to be honest and raw.  I want it to be less concerned with the 'perfect take' and more interested in the transfer of energy.”  Perhaps that will come to fruition very soon, and as you can see in their humorous bio information on their webpage, I am sure their laid-back personalities will shine through.

 33: What is in your car or truck that you are listening to?
Tucker Rogers: I don't have a tape deck or crafty little radio that can play CDs or iPods so I listen to 102.3 - the oldies, and 106.1 The Corner.  I love the "Work Day Wrap-Up" because you can influence the play list directly.  I like calling Willie to tell him one of his songs might be a good one for the theme and that he should call. 

33: Is there anyone you would like to thank that has had any contributions to your progression as a band?
TR: My parents - my two brothers and I are involved in music as a direct result of their artistic talent and desire to share that with us, as well as their decision to let art dictate their professional decisions.

33: How did William Walter and Co. form?
Adam Silvers: I met Willie after pla ying a show with a different band.  I had heard of him through a friend and walked in as he was setting up for a gig.  I told him I had my keyboards in my car, and he told me to grab them and jump on stage.  I loved that he didn't care that I did not know the music; he just wanted to play and see where the songs went.  

33: What musicians inspire your music?
AS: I've always loved Chuck Leavell's playing, but who doesn't?  I listened to him a lot growing up and tried to mimic a lot of what he does.  My mother and grandmother, who played for church as well as other public events, both inspired me to play.  My mother was my first piano teacher, and watching both of them play when I was young definitely drove that desire to perform. 

33: How would you describe your sound as a group?
Stuart Holme: Original music is always hard to pigeonhole, especially for the people who are making the music.  I often describe it as college rock or acoustic rock when pressed to describe it - it’s not hard rock, and I feel it has more depth than most “pop-rock”.  Really, different songs fit into different categories.  In the end, its more up to the listeners to de cide what “our sound” is.  We’re just supposed to make honest music the best we can.  Original music is always a gumbo of what the musicians listen to.

33: What are some difficulties about creating music?
SH: Unfortunately, performing always means that you are being judged.  Some people can be very picky and sometimes judge you unfairly, and there are also always some folks for whom you will just not be their cup of tea.  So it’s important to play for yourself and the people who enjoy your playing and not take criticism to heart.  I try to remember, no matter how bad it is, at least nobody died, right?

33: Do you ever think that you have a perfect performance?
SH: I have never had a perfect performance.  It could always have been better.  I have a good show 1 in 20 times.  The rest of them could have been better if only I had... Well, I think once every blue moon I have a note-perfect performance, and at other times I am pleased when my only mistakes are errors of omission, but even a note-perfect performance isn’t really perfect at all, is it?  In fact, I would argue that a real perfect performance might not need to be note-perfect.  The emotional impact of a great performance can be staggering, even if not technically dazzling.  I’m not talking about us here; I’m talking Bob Dylan and Neil Young, performers like that, the royalty of rock.  Beyond that, people talk about "this is better than that”, but music and art are subjective matters of taste; there is no uniformly agreed upon scale to judge musical performances on, there isn’t even  a decent measurement scale that can be enumerated.  It’s completely subjective.  So, in that sense, perfection isn’t even really a goal, and every performance can always be “better,” even though every performance is exactly what it is and can never be changed after the fact.  The question is a bit like asking, “What is the perfect snow flake?”  Not that it’s not worth asking, just that the answer is something different other than a list of technical considerations. 

33: How would you describe each CD that you have produced?
William Walter: The Story So Far - I believe this album has a bit more of a "rock" feel to it, a little more gritty.  That being said, one of my favo rite tracks is "Hey" from that CD, and that is just vocals and an acoustic guitar, but it was very honest.  When music is transparent and honest I feel like it communicates on a higher level.

Rough Around the Edges - This is a live CD and features a lot of tracks culled from select acoustic performances with Tucker Rogers.  This is a great live vibe CD that has done really well.  As the name of the album implies, there are mistakes and rough spots in the recordings throughout the CD.  At the time, I had wished they weren't there; now I am glad they are.  Those imperfections make for a live feel and an honest, true recording.  This CD is also special because there are three full band tracks with the late great Johnny Gilmore on drums.  October 22 is when he died last year.  I miss his smile...

Late Night Solitaire - This album was produced by Rob Evans and Tucker Rogers.  There is a lot of depth to this CD and a lot of production value.  It's more of a songwriter's album than The Story So Far, and I believe it's a bit more polished than the previously mentioned CD.  It came out at a certain time in my life where there was a lot of upheaval in my personal life, and I believe that made the album darker overall, but there are lighter moments here and there, too.  Tucker's guitar work on that album is well thought out and well-executed.

 5 Live - 5 Live kicks your ass.  It's all live, and the songs selected were bangin' versions that everyone agreed should be on a CD.  The last track has special guest mandolin player Andy Thacker on a song called "What I Can't Tell You" that we'd never put out there before.  There are a lot of special moments on that CD, and when it's live, there is no faking it, it's the real deal.

33: What do you think your songs and lyrics represent?
WW: That's pretty deep... I could probably write a few pages on that subject.  At the end of the day, though, I just want to write a song you want to listen to, and I want it to be a good song.

SouthernCVille.com

WilliamWalterAndCo.com

Jackass-Flats.com

By Director and Correspondent: Helen Brown

Although originally from Marion Junction, Alabama, Helen has been living in Virginia for the last three years because she absolutely loves the Blue Ridge Mountains.  She attended Emory and Henry College in Emory, Virginia, gaining a degree in Philosophy and Psychology.  Helen moved to Charlottesville on a whim because of the unique music scene, interest in the food and wine Industry, and the desire to incorporate music into her professional aspirations.  She is looking forward to listening to an array of eclectic music, observing the local talent, and meeting some interesting people while working with the Magazine33 team!  See you around town ...

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