Last night, the Moore Brothers, Fleming and Wesley, performed at George Fox’s Chico Feo Music Extravaganza. The elder Moore, Wesley, his head bobbing like, well, like a Bobble Head, recited his poem “Roaring Twenties Redux.”
Wowee, pretty silly.
Roaring Twenties Redux
O O O O that Shakespeherian Rag— It’s so elegant So intelligent
Once this pandemic is done, y’all, people gonna be hollering siss-boom-bah, packing the tattoo parlors, barbershops and bars, macro-dosing, doing the Hedonism like it’s wa-wa-tusi, dancing on tables, dancing in the streets, there’ll be swingin’ and swayin’ and records playin’, live bands blasting covers past curfew, PO-lice sirens wailing and blue lights swirling, sweatpants discarded, shimmering gowns flowin’, flasks flashin’ in the comet light of the apocalyptic party, alack and alas and all that jazz!
Brother Fleming, on the other hand, teamed up with Robert Lighthouse and David George Sink for a moving tribute to the Charleston Nine.
Here’s an excerpt:
As our late mother was won’t to say “There’s no accounting for taste.”
What do you think of when you think of Sweden? Viking ships? Ingmar Bergman? The Girl with the Dragon Tattoo? The blues?
The blues? What in the hell am I talking about?
I’m talking about Robert Lighthouse – nee Ivan R. Palinic, the Swedish blues guitarist who at the tender age of fourteen heard an Alan Lomax field recording of Muddy Waters – boom – Road to Damascus. Farewell, Nazareth, hail, Dr. Ross, John Lee Hooker, and Jimi Hendrix.
I chatted with Robert in bright sunshine on our dock yesterday before his gig at the Singer/Songwriter’s Soapbox at Chico Feo, the best free music you’ll find in anywhere in what once was called Tri-County Area.
Prompted by my questions, Robert related a CliffNote summary his life: moving to the States at eighteen, playing for tips on DC street corners, getting discovered by Charlie Sayles, the one-eyed harp master (who also got his start in music playing for tips on street corners).
Robert toured Belgium and Holland with Charlie’s band and ended up landing a record deal of his own. His critically acclaimed first album, Drive-Thru Love, available on Smithsonian Folk Ways Recordings, includes both covers and originals. In addition to his second record, Deep Down in the Mud, Robert also appears on the Folkways compilation 1996 album, The Blues You Would Just Hate to Lose, Vol. II. He has shared a stage with Dr. John and opened for Taj Mahal and Johnny Winter, whom Robert describes as a man of few words but many bong hits.
The pianist/blues impresario Gary Erwin (aka Shrimp City Slim) recruited Robert to appear at blues festivals in Camden, Greenwood, and Charleston, and somehow, Robert and my brother Fleming met, and, the rest, as they say, is history.
If you ever get the chance, check him out.
Here’s a clip of his version of the Charlie Patton tune “Rattlesnake Blues.”
And him warming up at Chico Feo last night (8 March 2021)
 That be Charleston, Dorchester, and Berkeley Counties. The Soapbox runs on Mondays from 6 to 10. Be there are be square.
 How cool to share a label with Woody Guthrie, Pete Seeger Leadbelly, and Dave Van Ronk. I made the mistake of clicking on their website and see a Lord Lavender calypso record I can’t live without.
 Robert tells me that his surname, which is Croatian, means fire-starter, as in arsonist, so he anglicized it to “Lighthouse” in the sense of setting a house on fire, not in the sense of guiding sailors safely to shore.
After a week off, Chico Feo’s Songwriter’s Soapbox returned in fine fashion. George Alan Fox, our inimitable host, bookended the extravaganza with a sampling of original tunes. This one’s my favorite, the brilliant “Figurin’ It Out,” performed at the end of the evening.
Pernell McDaniel laid down some country tunes he had recently written:
Alas, I didn’t get to record an outstanding set by Captain Philip Frandino, whose song “Compromise” speaks to our times. I promise to get him next time he performs.
Here’s a second or to of my occasional poem on Georgia flipping Democratic:
What an easy act to follow, especially for a talented songwriter like Gracie Trice, who, believe it or not, just started writing songs last month.
OMG, as the young people say, get a load of these spoken words by Brianna Stello:
Brother Fleming Moore did a set ending with a gospel tune.
Alas, I also failed to record Jeff Lowry, whom I also promise to video next time he performs, and, even though I did video Jason Chambers, I did so on his phone and don’t have access. It’s a big ass file, and I’ll add it if he can transport it. Lastly, several other performers were outstanding, but I didn’t catch some of their names.
What fun, y’all. Whitney Wienmann was there, celebrating her birthday, along with Caroline Tigner Moore. In addition, a Who’s Who of Folly illuminati made the scene: Surfer Phil, Tyler, Greg, Jesse, Matthew, Dan and Becca (who did a duet early in the evening with Becca on banjo) – the list goes on and on.
A shoutout to bartenders Rachelle, Katie, and Gavin. I also believe I saw a hatless Solly lurking on the periphery.
So if you’re in town, next Monday, head out to Chico Feo. Open Mike starts at 6PM.
Here are some brief videos chronicling a bit of what went down at the Songwriter Soap Box last night on the Edge of America.
The first clip features singer/songwriter Fleming Moore accompanied by bluesman Robert Lighthouse on guitar and an unnamed percussionist.
Next, Robert Lighthouse solo, laying down some blues.
Here’s an excerpt of Jason Chambers reading one of his poems.
Too, too short of a clip of the incomparable Danielle Howle.
Sorry, I couldn’t provide videos for all of the performers who included George Alan Fox, Pernell McDaniel, Toomey Tucker, Charlie Stonecypher, Pete Burbage, Eric Barnett, Jeff Lowry, Jamime Crisp, George Honeycutt and Bobby Sutton, Eliza Novella, and Leon David.
I remember going to a Warren Zevon show at a bar in 1992 and overhearing some kid say, “There’s nothing but old people here.” He was talking about people like me, an overripe just turned 39. As it turns out, coincidentally, the show took place a day after Zevon’s 45th birthday, and despite his semi-elderly status, he put on one helluva show. His encore cover of Leonard Cohen’s “First We Take Manhattan, Then We Take Berlin,” actually stirred for an n-second the dead embers of my long extinguished revolutionary zeal.
Of course, 39 or 45 might seem ancient to a 20-something, but to my mother, 60 at the time, or to my 92-year-old grandmother-in-law, I was only on the second leg of my TWC flight to that undiscovered country from whose bourne no tourist returns.
[montage of calendar pages flapping and tearing off in a really stiff breeze]
Yikes! Seems just yesterday being a boomer meant you were young; now it’s a term of derision, a descriptor of someone in the market for a walk-in tub, someone whose gauze-wrapped brain is incapable of gazing beyond his own limited experience. In fact, aging is such an obsession that our local paper has a weekly column on how to handle encroaching decrepitude.
I don’t usually read the column, but glancing at this week’s edition, I did a double take when I saw this headline:
Aging for Amateurs: King Lear shows how to find freedom in limitations
WTF, my inner keyboard typed. Lear as role model? He ends up In Act 3 evicted by his fiendish daughters onto a heath during a hurricane. Earlier, the doddering king had disinherited his one decent child, Cordelia, and at the end of the play (spoiler alert) he carries her corpse in his arms as he intones, “Never, never, never, never, never?”
So I read the article, and what the author cites is a brief moment in Act 5 when Lear mistakenly thinks he and soon-to-be-hanged Cordelia are headed to prison.
The author of the article on aging, Bert Keller, concludes
The old king acknowledges the reality of his inevitable imprisonment. Looking beyond the literal, we know what the deeper meaning here is for us: not dungeon or detention center but the limitations and losses of advanced age. Our bodies weaken, our minds slow down, hearing fails and we move around with effort. And on top of all that, now we’re shut in by COVID-19. Yet here is 80-year-old Lear, saying “Let’s away to prison” with a willing heart! That is the amazing thing. He interprets unavoidable withdrawal in terms of inner freedom.
Then again, on the other side of the poetic ledger, there is Dylan Thomas, who suggests “[w]e rage, rage, against the dying of the light,” like my man WB Yeats who asks:
Did all old men and women, rich and poor, Who trod upon these rocks or passed this door, Whether in public or in secret rage As I do now against old age?
Well, all of this is a long-winded way to introduce a clever music video on the subject, which features for a second or two my brother, the musician and actor Fleming Moore, playing a punk who has made it to his golden years.”  The songwriter Killjoy says, “The song is about growing old, obsolete, irrelevant, dying, nostalgia, and being OK with all of that.”
The band is Killjoy & the Cutthroats, and the song is “Golden Years for a Gutter Punk.”
Last night, Caroline, Brooks, and I attended Porter-Gaud’s Homecoming, and, of course, several people asked me how I liked retirement and what I was doing with my life.
Well, spending an inordinate amount of time screeching an ATT robots, listening to music manufactured by ATT for people on hold (martial drum machines, melodies based on the three signature tones of their branding, music certainly composed to encourage the holder to hang-up, if not take her own life). Oh yeah, and talking to American and Asian troubleshooters — all in vain.
It’s Kafka meets the Keystone Kops. You see, last Friday, my Internet went out. I glanced out of the window to see a backhoe gouging a hole in my yard. Subcontractors from Anson had come to repair what didn’t need to be repaired, severed the wire that conveys to me the digital world to which I’ve become hopelessly addicted.
Because the two incompetent subcontractors didn’t “close the ticket,” I was left in limbo. I finally got a new ticket, an appointment set up on last Tuesday from 4 to 8 pm. I could track my technician, who at 8 am that morning had just left and at 8:30 pm had just left, the linear map on my screen having forever frozen him one stop from the dispatch center. Of course, he or she never showed. There had been “a computer glitch,” and because that ticket was invalid, other tickets that had been issued subsequently to other customers had to be honored. So they’re supposedly coming out next Tuesday.
In happier news, Caroline and I hosted our very first ever house concert featuring politico sibling singer songwriter Fleming Moore and the hugely talented Danielle Howle, who is going to be included in the Oxford American music cd featuring performers from the Palmetto State.
Here are some photos taken by another Lowcountry musician Stefanie Timmerman.
Danielle performing during a mud slide
George Alan Fox and I discussing the immense panorama of futility and anarchy that is contemporary history
Danielle take us away to some darker dilemma than the First World problems I whine about.
 Picture me as Miles Davis going cold turkey, trembling like a victim of Huntington’s disease, beaded sweat bursting into torrents, puddling the rug where I writhe in fetal position.
My brother, Fleming Moore, aka Shady, candidate for mayor of the Flowertown on the Pines, opened for Americana all star Danielle Howle last night at Chico Feo on the Edge of America. Here’s some video from the show. Cheers.
If I were a decent human being, someone who cared about his unborn grandchildren, I would be out canvassing, ringing doorbells door-to-door and begging voters to cast their ballots because, if Republicans control Congress and the Presidency, we’re up the River Styx for sure.
But, the thing is, I sort of look like a homeless person. My hair, though scant, is unruly, like my beard, and my clothes, no matter how hard I try, always look like I’ve slept in them.
I’d be afraid that when I rang a doorbell and the working mom checked me out through the peephole, she’d call the cops. I’m a suspicious looking person. Salespeople stalk me at department stores.
And anyway, hey! [Cue the Beach Boys] I wanna have fun fun fun, /Till my sons take the car keys away!
Too much with too little time.
Caroline and I drove down to Beaufort Friday afternoon for the Pat Conroy Literary Festival. There, we got to see Megan and sit at the same table with her and her Uncle Tim and meet her mother Barbara for the first time. I absolutely adore Megan, whom I consider the funniest woman I know outside of showbiz. There were speeches I couldn’t hear, but it’s not the PA’s fault. The folks at my table laughed at words that to me were less than whispers. Maybe I need to go do something about my hearing? Afterwards, you could buy books and get them signed. A tribute volume for Pat has just come out, Our Prince of Scribes.
Megan Conroy, Caroline, and I-and-I
The B and B where we stayed was .6 of a mile from the dinner at Tabby Place, so we walked Saturday morning to retrieve Caroline’s car. We had expectantly bumped into a couple of former students at a bar and took an Uber “home” to the B and B. The inn itself I’d call Southern-Gothic Lite, with the proprietor a California transplant taking over dead mama’s mansion. He blinked very slowly a good bit, but he didn’t resemble Anthony Perkins, and the bath wasn’t equipped with a stand-alone shower.
Oh yeah, the walk. What a beautiful day. What a beautiful city.
So we left Beaufort without breakfast or coffee to pick up Brooks and meet Caroline’s dad at the Scottish Games on the grounds of Drayton Hall. Unfortunately, we couldn’t stay long enough to enjoy the complete array of contests and parades. We had to catch some of Porch Fest, Jim Crow’s set at three followed by Brother Fleming’s at four.
Too much with too little time.
For me, Porch Fest ranks right up there with the X-mas parade as Folly’s premiere parties This year marks its 5th anniversary. It’s a community-enhancing exercise; musicians are booked to perform at various houses on Folly Beach simultaneously. Luckily, Jim and Fleming were playing at different times and only a couple of blocks apart. Unfortunately, I didn’t get to catch Danielle Howle because she was playing at the same time as Fleming.
You just wander into the someone’s yard, meet some new neighbors maybe, open a beer, and listen.
Here’s a peek. First Jim, accompanied by Timmy Morris, and then Fleming.
Like I said, Too much with too little time.
Of course, my Joe Cunningham for Congress sweat shirt might have made me look more legit.
My father had some admirable qualities, but equanimity wasn’t one of them. For example, once, during my teenaged years, when the phone rang once too often to his liking, he ripped its wires from the socket and hurled the entire apparatus against the wall. Although incidents like this were rare, they occurred often enough to put us on edge. Unfortunately, after I left for college and his business started to go under, financial pressure exacerbated his anger. When my younger brother Fleming and sister Sue Ellen entered their adolescence, the household became more and more turbulent.
Not too surprisingly, Fleming started to get into trouble. Anger is contagious – or at least it was for us. While I was up in Columbia playing the role of angry young man, Fleming was back in Summerville mouthing off, experimenting with drugs, and getting arrested for this and that. Eventually, he was expelled from Summerville High School.
Nevertheless, he earned a GED and later a BA in mathematics and got a job teaching high school for Berkeley County.
Thanks to a fairly robust his drug habit, his teaching career was short-lived, and Fleming spent years in and out of rehab, ultimately getting hooked on crack. Oh yeah, before that, he suffered a couple of strokes and had a heart valve replaced while still in his twenties.
Although I do not believe in a personal god, I know that Jesus can save lost souls, because he saved Fleming, who has been sober/straight now for going on a decade.
During this time, he has been writing and playing music. Just recently, reverb.com invited him to Brooklyn for a recording session.
My hope is that some established star records one of his songs because they’re really good, both melodically and lyric-wise.
Here’s a clip from a recent gig at Bowties in James Island.
The song is entitled “In the Holy City,” a tribute to the love offering of the relatives of the victims of the Charleston massacre.
Anyway, never give up on someone. If you’re in the Charleston area, you can catch Fleming and his band at Bowties Thursday 18 October at 7. I’ll certainly be there.