Glen Burtnik’s 8th Annual Xmas Xtravaganza
December 19, 1998 – The Bottom Line, NYC - Two Shows
Tickets $20
There are many details about the 1998 shows I am foggy about. You might notice this situation as you read on...
To promote the show this year, I made another live on-air appearance on Vin Scelsa’s IDIOT’S DELIGHT program Sunday night, December 6th. I believe I might’ve appeared alone this time. I recall singing John McCutcheon’s haunting CHRISTMAS IN THE TRENCHES (a song which has always made me cry).
Putting a twist on this year’s show, I invited all the performers to show up in their pajamas. Although not all did, most of the artists actually came dressed in sleepwear. What a trip. Jill Sobule pointed out, backstage, how you could distinguish the artists who went out and found new pajamas from the ones who were in the clothing they actually had worn to bed, sometimes for years.
My hair was dyed Christmas red.
Ever-dedicated Mark Sacco was back to play drums, as was Arthur Scammacca. Maybe Pat Petrillo was there, maybe he wasn’t (the fogginess is already kicking in). Nancy Sebastian and Barbara Hahn sang background vocals. Ed Manion, Stan Harrison and Mark “Love Man” Pender were the horn section. In addition to Bernie Brausewetter and myself, it is possible Jimmy Leahey played guitar. I know Andy York did.
ENTER ANDY YORK
Well technically, this very proficient guitarist has been appearing on & off at Xtravaganza's ever since 1992, but I just realized I hadn’t written much about him before (oops). I’ve known Andy for years, and Tony Shanahan and Mary Lee Kortes have been pretty close with “AY” forever. In addition to other acts (Mary Lee’s Corvette, for instance) and varied session work, Andy’s been John Mellencamp’s guitarist since the mid 90’s. We all be happy to be seeing him when he be comin round spreadin de xmas cheer.
A fave tune of the show is the CHIPMUNK SONG, usually sung by 2 or 3 little girls. This year I expanded the kid singing group to about 10 girls. This way, the original Dave Seville harmonies could be approximated (and then some). After procuring all these cute young babes for the Chipmunk moment, I figured I might as well make the correct show biz move and start with them. I decided to open the show with my lyrical rewrite of Harvey Danger’s 1998 hit, FLAGPOLE SITTA (renamed FLAGPOLE SANTA). This entailed filling up the cramped Bottom Line stage with a full-tilt band and a large group of little girl singers for the night’s very first number. It was Darla and Sally, Kristi Garced and Jaclyn Barton (all who had done the show before) with the addition of six others. In the past, the CHIPMUNK SONG was predominantly a unison number with momentary lapses of harmony. This year the 3-part harmony rang out very nicely, thank you, sung by these 10 lovelies.
ENTER KIRA, JULIA, JACQUELYN, LAUREN AND LINDSAY
Kira Kenny is an adorable neighbor of mine, brought to my attention by my kids. My good friend Eric Troyer (who has worked with everyone from John Lennon to ELO) has two daughters who are very good singers, Lauren and Lindsay Troyer. As I recall, it was Lauren and Lindsay who suggested I ask Julia Linder and Jacquelyn Sampella along to do the show – which sounded good to me so they climbed on board.
ENTER MEGAN BURTNICK
My niece Megan Burtnick is my brother Ron’s youngest daughter. She’s a talented, motivated girl, having sung solo and with bands throughout her teen years. (The irony of how my own kids show less intense interest in show business while all three of my non musician sibling’s offspring have gone into serious study of music has not gone unnoticed.) Meg has been a great addition to the show.
ONE EXAMPLE OF XTRAVAGANZA HORROR
Now the Bottom Line, like any nightclub, has a revolving door of personnel. The night of the ‘98 show the venue was breaking in (or so I later was told) a brand new sound mixer. He looked okay, wore glasses, kinda nerdy, but I didn’t know a thing about him. After a long period of organization and rehearsal, the last thing I was prepared for was a faint-hearted soundman. The Xtravaganza really is an involved undertaking for everyone, but it surely must be a soundman’s nightmare with so many amplifiers, the combinations of musicians constantly changing and multi-use microphones to keep track of (one microphone used for a vocalist might also get used for a trumpet, a cowbell and a violin throughout the evening). To be fair, it doesn’t help matters that the Xtravaganza historically has a reputation for tardiness concerning loading in and sound checks.
We all walked on: the horn section, guitarists, keyboardists, drummers, percussionists and a giant crew of little girls. “2, 3, 4” I kick the opening number off, but as the song progresses I slowly sense something’s wrong when I begin to notice a confused look on the faces of the audience multiply until, about a minute or two into the song, I stop the song midstream. The show comes to a grinding and screeching halt.
“What’s wrong?” I asked the crowd. They pointed to the kids, their ears and replied that the girls could not be heard. I silently panicked. It was suddenly too much, the years putting together this annual tradition, the months of planning, the weeks of preparation, always trying to foresee and steer clear of any potential problems. And now, my knee jerk reaction was to put down my guitar, walk to the soundboard at the back of the house and MIX THE SHOW TOO. I began taking my guitar off before realizing it was impossible, stupid really, for me to think I could mix AND perform the show.
I remember feeling helpless and confused, looking to guitarist Jimmy Leahey, asking him “What should I do?”
After an uncomfortable pause (to me it seemed like hours) I began giving the orders over my microphone...’turn up the kids' microphones...’mic 1, 2, 3…testing 1, 2, 3’. I went through the entire embarrassing sound check as the audience sat through it for the benefit of the new soundman. Once he seemed ready (was he really ever?) I counted the song off again. A smattering of scattered applause from the audience signaled the sound was at least CLOSER to listenable.
I later heard the soundman was fired the next day. For all I know, he’s currently the triggerman in charge of launching underground inter-ballistic missile silos...or maybe he’s mixing the next Ricky Martin album.
So, for the early show we went from FLAGPOLE SANTA into the CHIPMUNK SONG. We then did a swing instrumental arrangement of WHAT CHILD IS THIS? which I recall, pretty much featured harp player Rob Paparozzi and accordionist Charlie Giordano. I believe Charlie brought in that chart. Next was another XX standard, Willie Nile’s O COME ALL YE FAITHFUL, bringing down the house as usual.
The musicality of the show was raised when my wife’s cousin Jeff Tomberg brought along the KISS MY BRASS QUINTET to play a very cool arrangement of a number of holiday themes. I recall sitting watching with Marshall Crenshaw and agreeing how very good these ‘properly’ trained players were. After that it was time for Christine Ohlman’s perennial fave, ROCK N' ROLL SANTA.
ENTER MATT PINFIELD
Famous television head and MTV icon (later Farm Club), tho some may know him as the DJ with a good singing voice from East Brunswick who used to spin at the Melody Bar in New Brunswick for years. Matt Pinfield came up to join Christine Ohlman singing one of my all time favorite Christmas tunes, the Pogues’ FAIRY TALE OF NEW YORK.
ENTER ERIN O’HARA
Beautiful Erin has been a friend of Tony’s for years. She contributed a performance of the Pretenders 2000 MILES to this year’s show.
Bernie ‘BB’ Brausewetter sang BACK DOOR SANTA and Jules Shear did WHITE CHRISTMAS solo (I think.)
ENTER JOHN S. HALL
John S. Hall first caught my attention as the singer of King Missile, with their noteworthy recording DETACHABLE PENIS. John recited his short and wonderful JESUS IS WAY COOL at the show, which pretty much blew everyone away.
Curtis Stigers reputed his touching original song HOME FOR CHRISTMAS, Rob Paparozzi and Jimmy did a blues number as a duo and Everlounge performed their annual GRINCH. Chuck Buck made the scene this time as ‘CastroClaus’ singing a rewrite of FELIZ NAVIDAD in addition to his comedy bit. Next, Mary Lee Kortes did I'LL BE HOME FOR CHRISTMAS, Freedy Johnston sang HAVE YOURSELF A MERRY LITTLE CHRISTMAS and the CAROLING CAROLERS returned for a second year. In the mix of all of this, Tony Shanahan fronted the band to sing BLUE CHRISTMAS.
ENTER DAN BERN
Next in the line up came the astonishing Dan Bern. This guy must be seen in person to be appreciated. I can’t recall what he sang, but I know it was, as always, spectacular. He is incredible live. Amazing. Maybe even a little nuts.
ENTER CARLTON BROWN
Then came time for what Carlton refers to as “The Soulful Sound of Carlton Brown.” I met the charming Mr. Brown from a neighbor who ranted and raved about this guy he works with. We met, Carlton gave me his CD and while listening to it, his voice reminded me of the unforgettable Otis Redding. When I approached Carlton about the show, we both had the same idea of him singing Redding’s classic version of MERRY CHRISTMAS BABY. It was clear that Carlton made everyone feel good with his brief but moving version of a gorgeous Xmas song.
Rolling along, James Mastro sang JESUS CHRIST, Marshall Crenshaw did an early Bob Seeger song SOCK IT TO ME SANTA, Lenny Kaye versed WISH COULD BE CHRISTMAS EVERYDAY, Tommy Conwell did RUN RUDOLPH RUN, and Larry Kirwan sang the tune JESUS,THE WORKING MAN before a newcomer to the Xtravaganza took the stage.
ENTER PATTI SMITH
Tony Shanahan has played bass with The Patti Smith Band since the legendary Poet/Musician decided to put her touring act back together in the ‘90s. Lenny Kaye has been Patti’s right hand man and collaborator since her introduction to the music world. Since Tony and Lenny have both been very involved in the Xtravaganza for years, I guess it was just a matter of time until Smith (certainly one of the most historically noteworthy artists to have appeared at the Xtravaganza) was interested in doing the show. The Patti Smith Band also includes Patti Smith Group alumnus J.D. Dougherty on drums and newcomer Oliver Ray on guitar. It was an honor to have her and her band join us in this, their first year. They performed their spooky version of WE THREE KINGS and WHITE CHRISTMAS. Next, Jigs did his TWELVE DAYS OF CHRISTMAS and I closed the show with MUST BE SANTA and HAPPY XMAS.
I am relatively sure Phoebe Snow made an appearance. (But I wouldn’t bet my life on it or anything).
BUT WAIT, it ain’t ova yet. The ‘98 late show included most of the music from the early show, but with few additions:
ENTER MARK PENDER
I played with Mark as members of LaBamba’s band in the 80’s, but most will now recognize him as trumpet player in the Max Weinberg 7 on LATE NIGHT with Conan O’Brien. Mark's a superstar – no two ways about it. All it takes is seeing this guy live to get it. Mark sang SANTA CLAUS IS BACK IN TOWN (as well as tore down the house with his trumpet chops).
Also an addition, Bernie fronted the band doing BOOGIE WOOGIE SANTA.
This was clearly a great year for the show; I just don’t recall all the details so vividly. This is possibly because my brain hurt so much in the aftermath of it all. But it hardly ends here…
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