Andrew Hamlin 1 p.m., Aug. 22
Sound description: Mildly demented folk rock, with a massive repertoire encompassing everything from goofy answering machine messages to love ballads both romantic and regretful.
RIYL: Elliott Smith, Louden Wainright, Don McLean, Donovan, the Rugburns, Gregory Page
Upcoming Local Shows
- "Record Release Roundup" · Jan. 22, 2014
- "The Mutual Admiration Society of Tilbrook and Poltz" · April 11, 2012
- "Steve Poltz's Dream House" · Nov. 23, 2010
- "A Vietnam Vet Walks into a Bar..." · April 16, 2008
- As I Hear It · Nov. 29, 2007
- "Barguys" · Aug. 30, 2007
- "Poltz's Gamble" · Nov. 17, 2005
- "Good and Sometimes Bad" · Feb. 3, 2005
Inception: San Diego, 1998
Current Status: Playing everywhere that will let him.
Influences: Elliott Smith, Rickie Lee Jones, the Replacements, John Prine, Alex Chilton, Styx, the Banana Splits, the Archies, Jesus Christ Superstar
Ask Steve Poltz how he would like to be remembered, and he doesn’t hesitate: He says he’d like to be thought of as a guy who brought people together. He explains that his audiences are fans who don’t necessarily attend other rock shows. They come to Poltz gigs to be with each other in some kind of a solidarity thing that even he doesn’t fully comprehend. The Rugburns’ founder marvels at the amassing of such a curious fan base, one that extends halfway around the globe. He considers them comrades who share (or at least are drawn to) his own mental state. “And I’m not right in the head,” he says by phone from his home in San Diego.
How else to explain a singer-songwriter who can perform a fragile love song such as “Everything About You” and then turn around and sing “Hand Job on the Church Bus”? “If I don’t do that song live,” he says, “people get pissed.”
But Poltz fans also come for the stories. A broken hand proved that last year in Canada. Rather than cancel, the promoter asked Poltz to talk to the sold-out house for 20 minutes. He did, and the show ended up lasting 90 minutes, during which he played two songs with a slide affixed to his pinkie, producing music that he says “sounded like a dead cat.”
“I'm a-fixin' to join the pro-bowling tour,” writes Poltz in a blog entry at www.poltz.com/blognews. “I think music is stupid and it all sounds like noise to me. I really feel like I have style and grace when I bowl.”
His fans would be heartbroken if he gave up the six-string for three holes in a bowling ball -- Poltz is San Diego's most colorful acoustic guitar-wielding iconoclast. He formed the Rugburns with Robert Driscoll and was instrumental in launching Jewel's career (he co-penned her hit “You Were Meant for Me”). He released his first solo album with Mercury Records in 1998 and has since created his own label, 98 Pounder Records.
He's best known for his stint with the Rugburns, of “Hitchhiker Joe” fame. “We got to do a couple shows with the Ramones,” he recalls. “This was in Cleveland, in front of about 6000 peeps. Sold out. The promoter came in to our backstage room before we went on and said, 'Don't take it personal if the fans start throwing shit at you. It means they love you! Ramones fans just want to see the Ramones.'”
“We came out onstage and right away somebody threw a lemon at me and it hit Flowerpot right in the heart and left a crack. I picked up the lemon and undid my pants and squeezed it all over down my boxers and then squeezed it in my mouth. The crowd went nuts, and after the show I met Joey Ramone and watched from the side of the stage while he ran off to throw up in a trashcan. It was pure poetry.”
Regarding the instruments in his musical arsenal: “I own about 30 guitars. Several of them are Taylors, I am sponsored by them. I have names for all my guitars, and my favorite one is named Flowerpot. There is also Clackety Clack, Trailer Park, Shithead, Steak Knife, etc. I wrote most of the Rugburns' stuff on Flowerpot in my living room and on the road. I have a very strange relationship with that guitar. I feel I am too attached to it. It is a Taylor 510 that was built around 1982. I bought it off of a junkie in Santee around 1983. He had it advertised in the PennySaver. I talked him down to 700 bucks, and it was love at first sight. Not with the junkie but with the guitar.”
That Taylor 510, manufactured locally, has its own claim to fame. “I wrote the big Jewel hit 'You Were Meant for Me' on it. After we wrote it in Mexico I said, 'That song sucks. You can have it.' She took it back to Atlantic Records, and they said it was a hit. Little did I know it would go all the way up to number one or two.”
In summer 2007, Poltz became one of the co-owners of the newly opened Starlight Lounge near Mission Hills. In 2010, he turned 50, releasing his eighth CD Dream House that in July. He still drives cross country to shows throughout the U.S., and he still has unlikely but loyal fan bases in Nova Scotia (where he was born) and Australia.
In early 2011, he booked around a dozen shows in his native Canada. He may be the perpetual class clown, but he says it isn’t an easy job: “You gotta really work on your live show all the time.”
Poltz spent late 2011 opening for Glenn Tilbrook (Squeeze) on a seven-week tour of England, Scotland, and Wales. Furthering the connection, Poltz took local sound engineer Chris Modl with him to work sound for both performers. Their connection dates back to 2001, when Poltz opened a solo U.S. trek for Tilbrook, beginning a long friendship with frequent collaborations. The pair cowrote a song, “Hot Shaved Asian Teen,” which appeared on Tilbrook’s 2004 album Transatlantic Ping Pong, but lost touch for several years. They reconnected in Chicago in early 2011 and quickly made up for lost time.
In early 2012, Tilbrook and Poltz announced their plan to make a pair of albums together, one collaboration and then a Poltz solo disc. “We’ve had such a great time playing together that we have to make a record at some point,” Tilbrook said.
“We’ve become good friends,” said Poltz. “The fact that we’re talking about doing an album together is just icing on the cake.”
In early 2014, Poltz recorded a new duet version of the hit song he originally wrote with Jewel, “You Were Meant For Me,” with Valencia, Spain-based singer Soledad Vélez, produced by six-time Grammy Award winner Chris Goldsmith (Charlie Musselwhite, Ruthie Foster, Aaron Neville).