What makes an artist do it? Years of practice, the expense of equipment and recording, the headache of keeping a band together - no easy task since the average pay for a gig in KC is less that $100 for a three-hour show. Then there's the performing to less-than -crowded rooms. It is the life of a songwriter.
Since 1996, Forrest Whitlow has called Kansas City home. He has written, recorded, distributed and performed five CDs of original songs. Whitlow, who usually performs solo or fronts The Crash with John Bersuch (Minds Under Cover & publisher of Dandecroft) on drums and D.J. Clem (formerly of Trouble Junction) on upright bass and guitar, has worked with a swath of the Finest musicians in the region.
For the listening audience, each performance is a new animal as a wide variety of musicial guests queue-up to sit in. In recent months, Whitlow has shared his stage with Scott Mize (Petals Jets), Rick Grey (Kill Creek), Mars Motors recording artist, Chad Rex, and bluegrass songstress Rechelle Malin. He remains committed to supporting new acts, regularly agreeing to share the spotlight with emerging performers like Kori Simonson and Tracy Rockwell. For several gigs last fall, well-know 16 session bassist, Stan Sheldon (Peter Frampton, Tommy Bolan, Led Zeppelin) joined The Crash for gigs.
Born in Kentucky, Whitlow mines his life experiences for material - life on a Kentucky tobacco farm, the death of his sister, several years of theology at a Nazarene Seminary, a day-gig as a mental health counselor. Over a beer at a 39th Street watering hole, Whitlow confesses that while the strictures of organized dogma may have failed him, he still holds to a belief in a greater transcendence.
The Whitlow discography is a refreshing landscape of varying styles. The debut Vacation is a simple, folky production focusing on countrified, narrative lyrics laid down over spartan acoustic guitar tracks. On Love & Garbage Whitlow introduces the electric guitar and an edgier rock groove. From the opening track, Gossamer Wings, we begin to first hear the oft-cited Neil Young influence. In 2001, Whitlow and the nascent members of soon-to-form The Crash went into the studio. Collaborating with Steve Phillips (The Elders, The Rainmakers), these sessions produced the critically acclaimed Patch of Blue and some of the finest songwriting seen in KC in a long, long time.
"Patch of Blue is a truly solid a piece of work," proclaims Tom
It"s the little things that get you off: it's the little things that matter. The big things promise so much. hardly ever deliver.
Wayne, co-owner of Prospero's books. "There's longevity in those tracks and the music has the capacity to bear listening and re-listening."
The plaintive Ingrid still elicits rooms filled with people to sing along. Yet, it is the soul-searing On The Fly that evokes the strongest audience response: "It's no wonder that you've fallen under the deception that there's something out there / its no dream what you've seen climbing the walls of your cranial matter / there's a reason for the feeling that the world is spinning without you on it..." And again "So you settle for a cheaper metal that no one will covet or steal / a slower model, one you can follow through the contours of your amouristic mind..."
In 2002, juggling a notebook of new tunes with budgetary constraints, Whitlow returned to the studio and again to Steve Phillips to record Into The Gloaming. Maintaining the technical quality of a Phillips-produced album, Gloaming's stripped-down songs hearkened back to the more simple, threadbare production of Vacation. Still, there were significant additions to the Whitlow catalogue of gems, including Poris Train, Monte Carlo and Good To Be Alive.In addition to a new album, 2002 saw Whitlow nominated as best alt-country act in the Pitch's best of Kansas City competition. He didn't take the prize, but the nomination brought exposure and a broader public awareness.
In 2003, Whitlow and long-time band mates, John Bersuch and D.J. Clem recorded Land of X, the first, truly The Crash CD. With Land of X, Whitlow has begun to move away from the gentle introspection of his earlier work. Its darker tone and heavier musical edge support a more complex fabric of troubling lyrics. Whitlow notes that with working John and Clem has provided some of the most rewarding musical experiences of his career, "They are constantly inspiring me to do new things musically, to write better songs."
Whitlow and The Crash continue to perform regularly, supporting Land of X (see review p.27). Logging the long hours of
• working musician, balancing
• day-job with late night performances, Whitlow is unwilling to rest on his already considerable laurels. New tunes continue to make their way into each evening's songlist. One new tune, Mr. Dandecroft, draws its name from fellow band mate John Bersuch's twisted imaginary childhood friend. True to The Crash sensibilities, it is a dark tale of a societal misfit prowling the perimeter of our culture's back alleys.
At a recent solo show, Whitlow found it hard to get off stage even after more than two hours of music. As the clock marched past 1:30am, voices from the crowd, unwilling to leave without hearing their favorite tune, continued to shout out song titles. Whitlow found himself smiling, ...alright, if that's what you want. I like playing..."

WHITLOW FACT BOOK

Equipment: Guitars:: Yamaha & fox acoustics: good, deep bass sounds. Electric: Epiphone brite yellow, looks cool and sounds good through the hotrod. Amps: Trace Acoustic & Hotrod Deluxe Fender. Harmonicas: Marine Band -- I like blowin' through wood... such a pure sound... through the reeds blow out so easily.

Favorite Venues: My living room. I've had good and bad experiences about everywhere. Westport Coffee; The Hurricaine; The Music Cafe in Columbia; Prospero's is still my fave. It's relaxed and not rushed and the people come to listen to the music.

Brush With Fame: MikePeters of the Alarm, Paula Cole, Todd Snyder, Ben Taylor (son of James), Freddy Jones Band, Oh My God, The Frogs, and some others I forget (like the rolling stones -- hee!).

Best Studio Experience: Big Time Music Studio. Steve Phillips (The Elders/The Rainmakers) is a great engineer and producer. He's helped out a lot with the last 3 records. He's fast, knows the business and knows what sounds good.

Musical Collaboration: Not many, I'm a loner. John Bersuch & D.J. Clem inspire a lot of music. They challenge me to play and write better, and to do different types of songs. Todd Wiseman (Shotgun Solution), Scott Mize (Petal Jets), Rick Grah (Kill Creek), Rick is an awesome player when he is into the music, Rechelle Malin. And for a couple of days the Crash had Stan Sheldon (Peter Frampton) playing some bass for us.

Influences: Neil Young, Bob Dylan, Sonic Youth, Dinosaur Jr., Beck, Luna, SonVolt, Wilco, Paul Westerberg, my mom playing organ in church and getting me a guitar when I was a little fart. Special consideration to David Blyth, David Hakan and Harry Hewlett.