A lot of times at a place like that, you know, when you have your own version of that place, it’s the kind of place where you show up, and you kind of immediately start a rotating conversation that lasts for four hours, and then you go home. And I was alone for a lot of it, but in a nice way, like I was just observing a lot more than usual. And my partner was not there at the beginning, I think she came later. And I don’t know, I think that my I want to say that my close friends were not there at the beginning. I think we went to get a beer, and then came back to the show. “I got there kind of early and my friend Russell, who I didn’t see very often, had also gotten there early. And then, by the time they were recorded, it was like looking back into a parallel universe where I can go to any of those places.” “As I was writing these songs, I just dove all the way into that. I think my writing is definitely informed by tangible things,” he says. “I was realizing, as I was pouring myself into those songs, that they are really about places that I love and have spent a lot of time in, and people that I love and spent a long time with. Characters from previous songs on previous Slaughter Beach, Dog records weave in and out as the song’s narrator takes in the world and listens to the people around them, and the contrast between the lyrics, in which Ewald’s narrator is often a fly on the wall of a busy bar, or having a heart to heart with a loved one, and the intimate energy of his musical arrangements is striking. The songs on AT THE MOONBASE were written in the time before the pandemic, and the process of recording them by himself after months of isolation shifted Ewald’s perspective on the songs that he’d written. Boot and Saddle’s not in my neighborhood, but it’s enough in the city that I could, like, get my guitar and ride there on the subway.” And I think it was like the second or third year that it happened.
#You done lame o remember this name oscar series
“Every year, Lame-O Records would do this series of shows there in January where once a week, a bunch of Lame-O and Lame-O adjacent bands would play. An ear well-versed in the locales of the city of Philadelphia might be able to lock down some of the other places that make appearances on the record – “Song for Oscar’s” is set in the Center City dive bar of the same name, for example. The news of the closing, which came a month and half before new record AT THE MOONBASE’s surprise Christmas Eve release, prompted him to reinstate the lengthy and “obnoxious” (his words, not mine) original title of cathartic album closer “Notes From A Brief Engagement (At the Boot and Saddle)” as an homage.
Slaughter Beach, Dog’s Jake Ewald spent plenty of time there, working the door for shows and “fumbling through” the early works and lineups of Slaughter Beach, Dog.
The news broke on November 10th of last year, after seven months of silence and seven years of operation in its revived form – more than enough to make it a staple of the city’s music community. Its most recent iteration was referred to by the Philadelphia Inquirer as “an important intimate stage for local and touring acts” in a part of the city that generally hadn’t seen as much action as the others. South Philly’s Boot and Saddle, a country dive bar-turned-treasured rock club with a distinctive neon cowboy boot on the outside, joined a tragically long list of independent music venues shuttered by the ongoing COVID-19 pandemic.
“I normally don’t have specific stories when I get asked for stories about specific songs, but there’s actually one memory that made me want to give it that title.”
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