Big D And The Kids Table, The Pietasters
2109 South State St
Chicago, IL, 60616
This event is all ages
Big D And The Kids Table
Big D and the Kids Table front man David McWane has said, "There are people who want to be in a band and then there are musicians." Once in a while a group comes along that makes music simply because they have no other choice – they are addicted musicians. For the past fifteen years Boston's Big D And The Kids Table has proven just that, regardless of the band's poverty. McWane describes the group as – "We're modern American gypsies," And you can feel that sense in their wildest record yet – For The Damned The Dumb & The Delirious.
"The person who put it best is [Warped Tour founder] Kevin Lyman", McWane explains. "A friend once asked him if we were a 'big band', and Kevin replied, 'I'll tell you this…they've been around for 14 years and each year they're extremely relevant.'
"Our new record is by far our best yet," says McWane. "It's a bomb! Our energy writing it was incredible. As friends, we had a blast; as musician's, we knew exactly what we wanted to craft; and as tour mates, we were all on the same page, writing songs that would make the coming tour a slaughtering battle on stage. We love energy, and that's what we packed these explosive songs with."
For The Damned The Dumb & The Delirious is filled with driving ska-punk bangers, leaping off the stage thrash, seedy dub and topped off with a lot of that good ol' fashion working class, Boston bar room beer toasting anthems. It's gritty, bratty and raw – confident, witty and fun.
"I personally prefer shows where you have to prove yourself," McWane adds when asked which of the band's thousands of live performances stick out in his head. "The Warped Tours, Reading & Leads, and the Dropkick Murphys tours that we did were exciting because you had to prove yourself. The feeling is similar to when your band first starts out; you get that first-show anxiousness," he continues. "When you play shows where everyone loves you, then it turns more into entertaining—and that can be fun, but that's not where I personally come from," he elaborates. "I like the underdog shows more because they add spice and kick." Armed with a record as youth driven, honest speaking, furious and fun as For The Damned The Dumb & The Delirious, Big D will undoubtedly get the opportunity in sweaty clubs all over the world, to step up to the plate and prove themselves all over again
"We want to wake up the masses with this record, remind them that they're more than just alive; and make their Mondays into Saturday nights. Lovers of our sound better get ready 'cause no one's gonna help them in the front row of this coming tour. If you wanna relax – head to the back." – says McWane
In 1990, a group of friends were attending college at Virginia Tech in the mountains of Virginia. Among them were Stephen Jackson and Chris Watt who had previously dabbled in playing punk rock covers.
Soon after, a mutual friend, Tal Bayer, began attending nearby Radford University. He was very much into ska and reggae and suggested that they form a ska band. After recruiting a high school friend, Tom Goodin, and an Architecture classmate, Ben Gauslin, The Slugs were born. Soon, they were skipping classes, melding ska, reggae, R & B and punk rock while practicing for hours to learn songs by Madness, The Specials, Bad Manners, Mighty Mighty Bosstones, The Burial, The Skatalites, The Business, and others. Unfortunately, the name The Slugs was already taken and the band needed a new name. For a few months, the name was changed to the Dancehall Crashers. It was too similar to another ska band out west so the search for a new name continued. Some British neighbors used to refer to the heftier guys in the band as Pietasters, which is British slang for "fat guys". The name stuck and The Pietasters were born.
A few months later, a similar band from the DC area, The Skunks, asked The Pietasters to play a local ska night at a bar in Georgetown. The Pietasters were still rough around the edges. Soon, they were playing every dive bar in DC. The manager of one such bar befriended the band and helped them record their first record, The Pietasters, more commonly known as Piestomp.
In the summer of 1993, The Pietasters set out on their first national tour in a used school bus they'd bought for $900. The tour was haphazard with stops in Ohio, Oregon, Kansas and even many in Canada. By the end of the tour, almost all of the original members quit the band. To this day, only trumpeter Carlos Linares and lead singer Steve Jackson remain as original members.
The Pietasters auditioned many players and decided on Jeremy Roberts, Toby Hansen and Alan Makranczy as their horn players, Rob Steward (Covington) on drums, and Paul Ackerman on keys. Tom Goodin remained on guitar. The new line-up continued to tour whenever possible, and soon attracted the attention of Bucket Hingley, front man of The Toasters and owner of Moon Ska Records. He asked if The Pietasters wanted to be a part of a tour package called, "Skavoovie 94". The Pietasters accepted and were soon touring with The Toasters and The Scofflaws. The tour was much more organized than their last outing and proved to be very educational. By the end of the tour, The Pietasters were scheduled to record "Oolooloo" on Moon Ska with Victor Rice producing.
Oolooloo came out in the summer of 1995. The Pietasters continued to tour the country, and even managed to record "Strapped Live!" between stops in Raleigh, NC and The Black Cat in Washington, DC. "Strapped Live!" was released in 1996 and quickly became a fan favorite and the closest thing to a live Pietasters show. Throughout this period, The Pietasters had been recording new songs, re-recording older ones, and recording some covers. The results ended up as "Comply", and the song selection foreshadowed their next release.
While touring with The Mighty Mighty Bosstones, the band made a stop in Los Angeles. Backstage at the show, Tim Armstrong from the band, Rancid, approached the band and asked if they'd like to be a part of a new label he was putting together, Hellcat Records. The Slackers, Hepcat and Dropkick Murphys were already committed and he wanted The Pietasters on board.
After clearing such a move with Moon Ska, The Pietasters signed with Hellcat, a subsidiary of Epitaph Records, and their next album, Willis was recorded and released in 1997. A tour of the US soon followed as well as their first ever tour of Europe. The Pietasters also made appearances on the Warped Tour and opened for such acts as The Reverend Horton Heat, Cherry Poppin Daddies, and Ozomatli.
By 1999, The Pietasters were in the studio again to record Awesome Mix Tape #6 for Epitaph's Hellcat Records. They finished the album and set out on the road again touring Europe with the Warped Tour, then the US again with the Pilfers and Spring Heeled Jack, and closing out 1999 with an opening stint for the legendary Joe Strummer. Years of touring finally took its toll on Paul Ackerman and Tom Goodin, who amicably left the band. Bassist Todd Eckhardt also left the band and was replaced by Jorge Pezzimenti of Virginia band, The Decepticonz. Erick Morgan, formerly of The Skunks, took over keys, and Toby Hansen replaced Tom Goodin on guitar.
In late 2001, The Pietasters were well into recording their next album when they learned that former bassist, Todd Eckhardt, had died in his sleep. The news was extremely hard on The Pietasters and their fans. The Pietasters released a new album in 2002 titled Turbo, a nickname of Todd's. The new album's blend of Jamaican riddims and Northern Soul won praise from fans and critics alike. It even caught the attention of James Brown who asked The Pietasters to be his backing band at a sold-out concert in Washington DC in December 2002. The following year, The Pietasters released their first DVD, Live at The 9:30 Club. Their song "Out All Night," was featured in the videogames Street Sk8er for the PlayStation, and NCAA Football 06. In 2006, The Pietasters played the International Ska Circus in Las Vegas.
On August 21, 2007, seventeen years after their inception, The Pietasters released a new studio album entitled, All Day.
EE's music fuses a horn section with marching and melodic percussion. Rhythms include 'world' beats and non-traditional American drumline. EE writes adn performs many original songs, and songs from other HONK bands. Environmental Encroachment also wears costumes, and often works with multi-media performance and artistic collaborators.
Performances include stage shows, parades, weddings, funerals, historical re-enactments, children's shows, holiday theme parties, street busking, second-line processions, festivals, performance workshops, rituals, block parties, media and press conferences, circus sideshows, music for burlesque, birthdays, unvellings, coronations, proms, vaudevillian skits, and synchronized swimming with sousaphones.
Environmental Encroachment's first official 'show' was on New Year's Eve Day, December 31st, 1994, with playground installations and live music interactions below Chicago's 18th Street bridge.
EE now includes alumni and band 'nodes' from around the world, and have a semi-organized network to form 'super transformational bands', able to travel, with a shared musical repetoire, with the time to tour. Tours include performances, workshops, lectures, childrens' shows, and other methods.