Volume 17 – #4 – April 2014

When Brave Combo started we knew we didn’t know much, but we didn’t realize just how little that amount actually was. We had no idea how vast the polka landscape was. At first we were just trying to play the various songs the best we could, but didn’t pay much attention to the different characteristics that defined each style. Tito played a polka beat on the drums, Lyle played the downbeats on the bass, I played the upbeats on a keyboard and Tim played the melodies on either a clarinet or a straight soprano sax. That was the set up. But as we listened closer, at each rehearsal, we started to hear the subtle things that classified something as Polish or Slovenian or German or Dutchman (Oompah) or Czech or Tejano or Conjunto or Norteno or whatever. During our first year, I bought an accordion (duh) and Tim added a tenor sax to his growing arsenal. Then I got a guitar, Lyle got a tuba and all hell broke loose. We didn’t know how to pronounce anything correctly, we were learning songs from obscure vinyl LPs that were meant to accompany dances we were unfamiliar with. We found great songs on old lounge and latin LPs and things like exercise albums (The Trim Twist) or soundtracks from B, or maybe C, movies. Basically, anything that had zip to do with the mainstream was our inspiration. And we were so uncool and clueless (without trying to be, btw), it’s surprising anyone wanted to associate with us. As well, we were pretty ragtag in appearance, mainly because we just couldn’t pull that together any better than we did. Nothing about us said “hip.” Our look ranged from sloppy to unfashionable. Jeez, at least we were young. Somehow, though, our concept and formula for making music, as primitive as they were, resonated with people right off the bat. Regular ol’ folks seemed to be drawn to our sound like zombies, but friendly, attractive, healthy zombies. We thought about what was happening and did our best to run with it. Before long there were Brave Combo articles in ROLLING STONE, THE VILLAGE VOICE, CREAM, SPIN, TROUSER PRESS, even DOWNBEAT. And we looked odd in most of the photos these publications ran. But I sometimes think our dorky image gave us mystique when we would play places like the East Coast. There was a thriving, exciting, live music scene in trendy (usually urban, often rundown) areas in just about every major city in the country and we were becoming well-known enough to score gigs in the most happening spots in New York City, including The Peppermint Lounge, CBGB, Irving Plaza, Maxwell’s, Lone Star Cafe, The Bottom Line, Danceteria, The Mudd Club and, of course, The Macy’s Thanksgiving Day Parade, which made it easier for the national music media to check us out. We figured out that we were on to something that might go on a while, but had no game plan. We were just following our noses from one opportunity to the next with crazy stuff happening around us. And all along we were devouring polkas, cha chas, twists and waltzes like they were going out of style, which they were. Or were they? See fun facts below.

After a while we began to attract the attention of polka musicians and fans of polka music. Up to that point, we had presented ourselves as happy freaks of nature, dwelling primarily in the rock and punk club world, playing the most inappropriate music possible for whatever room we were in. That was the idea. But now a bunch of real, honest-to-god, long-time polka lovers were coming across our music or hearing about us. Obviously, some of them hated us and thought we were, at best, misguided idiots and, at worst, scavengers making fun and making money at the same time, at polka’s expense. This was a popular notion for awhile in some circles. But, thankfully, there were more people that “got us” and liked us and, despite our ignorance of the details, we began to receive invitations to play hard-core polka events and festivals. So we decided we needed to understand a whole lot more about what made each style unique and to get as close as we could without losing what made Brave Combo unique. That has been tricky at times. As members have come and gone, I’ve seen the interest in and desire to conquer certain styles vary dramatically from person to person, with a few ex-members having never had a clue about what they were just involved in. Despite all of the potential roadblocks, though, we had supporters and champions and still do. The polka community all over the United States, by and large, has embraced us and, frankly, we’ve been around so long now, there’s not much difference between us and them anymore. But there were a handful of polka giants that put us on their shoulders when we needed it and gave us their stamps of approval. Many of them were the leading polka musicians and promoters, including, Eddie Blazonczyk, Frank Yankovic, Steve Popovich, Joey Miskulin, Flaco Jimenez and the accordion king of Kansas City, Don Lipovac. Don and his band would come to see us perform at The Grand Emporium, where we became friends, eventually leading to us playing shows together around the city. Without a doubt some of our best nights in KC were shared with Don Lipovac, Phil Ashley, his string player, and the rest of the band. Don totally got it. He understood and appreciated what we were trying to do. And we were such big fans of his that we had him play some hot licks on a track on our album, POLKA’S REVENGE. I guess you probably know where I’m going with this. Don passed away a few days ago. He was 79 years old and, it appears, had a heart attack. We last played with him at The Sugar Creek Slavic Festival, just outside Kansas City, a couple of years ago and were scheduled to play with him next month, when we return to the festival. I guess I’ll be giving that show a lot of thought between now and then. Although Don’s sound was primarily Balkan and very influenced by the Tamburitza orchestras, his knowledge and mastery of styles was mind-boggling. In fact, most of his recordings are all over the place, like Brave Combo. He looked at the big picture, and beyond and his view had to be quite a sight. I knew Don to be super nice, always polite and respectful, with a gentle humor; quite humble, until he would begin to play. Then he grew 10 feet tall and, at times, got a little scary. His eyes would roll back and the music would flow. His wife of 52 years, Joann, was his biggest fan and was always by his side. “Thank you, Don, for believing in Brave Combo. You will be missed!” Everyone come to Sugar Creek the first weekend in June and help us honor the memory of a good friend and a good friend to polka music, Don Lipovac. Here’s a video to check out.

Fun Fact 1: Though not unified yet, the polka community in the USA is huge and, world-wide, staggeringly large; much bigger than you can imagine. Fun Fact 2: Polka was never dying. It’s been popular since the middle 1800s. The scenario just changes periodically. Fun Fact 3: The outlook for polka is as good as or better than any other single style of music. It will probably be around way beyond all other “popular” forms. I’d put my money on it. I’ll bet 5 million dollars that polka music will outlast everything else over the next 100 years, including all things country, all things rock, all things contemporary Christian, all things hip hop and rap, and so on, (we have to exclude electronica, though, since robot bands are so new to the universe. Know what I’m talking about? Hell, let’s make it the next 1000 years. I am that confident! As a dance form polka definitely has a better chance of being around longer than, say, the macarena or the mashed potato or even the gavotte.

Until things settle down in Ukraine, Brave Combo is not playing Russian music. We have, however, added “Kiev Waltz” to the live set list and plan to start performing more Ukrainian songs.

NEWS FLASH: In just a couple of months we plan to release a new live album, recorded at our March 14th appearance at the legendary, but sadly, now-shuttered (two weeks after our performance), Blob’s Park. Some of our best shows ever were at this 100-year-old dance hall and we think some special energy was captured in these recordings. More on this as it develops.

Speaking of polka, tune into the POLKA 101 Radio Show on The Polka Jammer Network (internet, baby) Saturday afternoons. The host and brains behind the show is our buddy, musical genius, Joe Oberaitis. Okay, it’s up to you now. Heed or ignore.

Brave Combo played its first shows 35 years ago right about now (April and May, 1979). Over the next few months we will be hosting some anniversary wing-dings and wang dang doodles. Dates are already set at The Live Oak in Ft. Worth, Poor David’s Pub in Dallas, Dan’s Silverleaf in Denton, Sholz Garden in Austin and we’re working on adding Houston and maybe a couple more Texas dates. Check our itinerary. It’s waiting for you.

Brave Combo’s hometown, Denton, Texas, also home to two Miss Americas, was attacked about a month ago by millions of big, angry, suicidal hailstones from outer space. In addition to several other boo-boos at our house (totaled car, destroyed roof, shattered windows), an old plastic litter box we were planning to throw away got nailed twice out on the deck. What a tragedy. Also during the storm, the BC office downtown flooded slightly; just enough to soak about half of the carpet. It was awful and turned into a big mess and a lot of work. Nothing is even close to normal yet, except that we threw away that litter box. Did I mention that the BC van also got a lot of dings? Well, it did. Now we look tougher than ever, riding around.

Speaking of tougher, don’t let those thoughts in your head tell you what to do. Stand up to them and do what you want. Be tougher. For instance, if that voice tells you that you can’t sing, ignore it and start a band. Until next time, keep looking for that path, even when it seems pointless, which it most likely is.