Kick Drum Mic
Kick Drum Mic
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 Audix D4 Drum Mic Rack Floor Tom Microphone Perfect Flawless  US $81.25
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 CAD Audio PMP65 Cable Professional Microphone US $119.00
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 Shure BETA 52A Kick Drum Mic US $99.00
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 Earthworks KP1 KickPad Mic Level Kick Drum Processor US $60.00
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 MXL A 55 Kicker Dynamic Kick Drum Microphone New US $97.99
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 BLUE Kickball Drum Mic US $60.00
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 Audix Fusion 4 Cable Professional Microphone US $40.00
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 Digital Reference DR DRM7 7 Pc Drum Mic Set NO RESERVE US $66.00
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 Beyerdynamic drums microphones 3x Opus 88 TG D58c 1x Opus 99 TG D70d US $305.00
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 Shure PG Card Dynamic Kick Drum Mic Microphone PG52 XLR US $134.95
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 JamStands By Ultimate Support Low level boom Microphone Mic Stand JSMCFB50 US $39.95
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 STAGG Drum Mic Microphone Set 7Pc w 2 Clamps and Case kick snare cumbals toms US $309.95
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 Pyle 7 Piece Drum Mic Microphone Kit 4 snare tom 2 overhead 1 kick PDKM7 US $159.95
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 AKG D 112 Kick Drum Microphone US $93.00
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 Samson MB1 Mini Boom Stand NEW US $21.95
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 Ultimate Support JS KD50 Jamstand Kick Drum Guitar Amp Mic Stand US $12.00
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 Blue Mouse Large Diameter Cardioid Condenser Microphone US $1,249.00
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 Condenser Instrument Mic YPA M602 Drum Microphone NEW US $59.99
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 Audix Fusion 6 Pack Drum Microphones w 2 Cymbal Condenser Mics Hard Case US $150.00
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 Shure Beta 52A Supercardioid Dynamic Microphone w Free Mic Cable US $149.00
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 Elation KM 202 1 km 202 true condenser mic MDC Bass drums Kick mic US $669.00
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 Shure KSM137 SL Cardioid Studio Condenser Microphone Champagne US $229.99
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 Audix F12 Professional Microphone US $20.00
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 Classic Audio Technica AT MB Midnight Blues Drum Mic Microphone 7 Piece Set US $150.00
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 SHURE PG52 PG 52 KICK DRUM MIC W MIC BAG EXCELLENT US $60.00
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 Peavey PVM DMS 5 Drum Mic System US $234.99
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 ACMco Silver Bullet Instrument Mic for Phantom Power FANTASTIC ON GUITAR US $70.00
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 AKG C 4000 B Condenser Cable Professional Microphone US $350.00
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 AKG D 112 Dynamic Cable Professional Microphone US $149.99
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 Samson 5KIT Cable Professional Microphone US $150.00
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 Sterling Audio ST51 Condenser Cable Microphone US $39.95
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 Gear One MK1000 Bass Drum Microphone US $30.00
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 Gently Used Shure PGDMK6 XLR 6 Piece Drum Microphone Kit US $300.00
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 ProLine Desk Boom Mic Stand US $7.51
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 Kick Drum Mic US $10.00
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 DRUM MIC KIT E602 SM57 E604x3 GREAT CONDITION US $449.99
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 CAD M179 Mic Shockmount Cable Filter Case US $199.99
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 Audio Technica DR Drum Digital Reference All Pro Microphone System 3 mic Set US $48.99
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 Peavey PVM 520i Dynamic Microphone Great for Kick Drum or Vocals US $90.00
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 CAD Pro 7 Drum Microphone Pack With Carring Case US $80.00
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 Shure Half Cardioid Condenser Kick Drum Microphone BETA 91A US $81.50
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 Sony sra 3 Tube Mic Microphone and Instrument Pre Amp US $499.00
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 Audix D6 Sub Impulse Kick Drum Mic Excellent Condition Only used Twice US $129.99
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 NEW Drum Microphone set KAM D7 Kit A stock 7 high quality XLR cables US $100.00
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 NEW Drum Microphone set KAM D5 Kit B stock 4 ST2 and 1 BD2 mics US $99.00
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 Audix DP7 Drum Mic Kit US $880.00
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 NEW YPA M601 Dynamic Instrument Microphone Drum Mic US $29.99
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 SUPERLUX MICROPHONE DRUM SET WITH HARD CASE FOUR PRA 228A 0NE PRA 218A US $60.00
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 SE Electronics SE4400A Condenser Cable Microphone US $620.00
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 ► YAMAHA SUBKICK SKRM100 Drum Mic With Stand US $225.00
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Gear One MK1000 Kick Drum Mic Black $69.99 The highly affordable MK1000 is a dynamic mic designed for low frequencies. Its supercardioid polar pattern provides maximum isolation onstage for greater gain-before-feedback. Its 30Hz-10kHz frequency response is tailored for kick drum with a slight boost at 80Hz (where kick drum lives) and a presence peak at 3kHz and 9kHz for clear and articulated attack. Max SPL: 146dB |
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Used Shure Beta 52A Kick Drum Mic $171.99 The Shure Beta 52A Kick Drum Mic is a high-output, dynamic microphone with a frequency response tailored specifically for kick drums and other bass instruments. It provides superb attack and punch, and delivers studio-quality sound even at extremely high SPLs. Its modified supercardioid pattern ensures high gain-before-feedback and excellent rejection of unwanted sound.Channel Strips of the Stars: Ronan Chris MurphyWorld-class producer/engineer/mixer Ronan Chris Murphy's credits include King Crimson, Steve Morse, Terry Bozzio, Victor Bisetti, Gregg Bissonette, Tony Levin, and projects with members of Tool, Ministry, Weezer, Dishwalla, and Yes. A huge fan of A Designs Audio, Ronan was kind enough to share some of his drum-recording signal chains: "Well all of the drums for Terry Bozzio's Jazz trio were recorded with all A Designs Audio solid state preamps. For drum overheads I used Shure KSM32 condenser mics (#270141) into a Pacifica (#189903); for kick drums, I prefer the Shure Beta 52. Actually I have used the Shure KSM32 into Pacifica combo on tons of great drummers, including Terry Bozzio, Victor Bisetti (Los Lobos), Gregg Bissonette (Santana, David Lee Roth), and Pat Mastelotto (King Crimson, Mister Mister, The Rembrandts)."Note: for more information about individual units in the signal chain, enter the Item ID# into our search box.Frequency response shaped specifically for kick drums and bass instrumentsBuilt-in dynamic locking stand adapter with integral XLR connector simplifies setup, especially inside a kick drumStudio-quality performance, even at extremely high sound-pressure levelsSupercardioid pattern for high gain-before-feedback and superior rejection of unwanted noiseHardened steel mesh grille resists wear and abuseAdvanced pneumatic shockmount system minimizes transmission of mechanical noise and vibrationNeodymium magnet for high signal-to-noise ratio outputLow sensitivity to varying load impedanceLegendary Shure quality and reliability |
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B-Band UKKO-K Single Kick Drum Contact Mic $99.99 The B-Band UKKO-K kick drum contact mic system is a remarkable way to capture the true tonality of your kick drum consistently, conveniently, and with extreme isolation. This system consists of two important components: the UKKO DMK preamp, built with high-quality class-A electronics, and the UKKO DST1 Contact mic for superb tone. This system will work with any size kick drum, and gives you high-resolution sound, and easy setup!This mic system was designed to be able to blend-in visually with the drum kit. That is why B-Band designed the DMK preamp to be chrome colored to match most drum hardware. It is an extremely lightweight system that does not add any noticeable weight to the drum, or get in the way while performing like most other drum mic systems. It also very robust and durable, and will endure rigorous touring.Setting up and tearing down have never been this easy. The DST1 has an adhesive back that mounts easily and discreetly on the inside of the drum shell near the batter head. The DST1 lead wire is fed through the drum air hole to the DMK preamp. The preamp mounts in the air hole outside of the drum, and was specially designed to not interrupt the flow of air as the drum breathes. Being as the DMK preamp is so small in size, there is no need to remove it to put the drum in its case, leave it on and be ready for the next gig or studio session. To better capture the low frequencies of the kick drum there are two mini switches inside the DMK preamp that contour the sound for a choice of tone. One switch controls a -6dB mid cut at 330 Hz and the other is for a +6dB high boost at 5 kHz.If you have a hole cut on your resonant head or if there is no resonant head on your kick drum, this will make the UKKO-K sound thinner. It is recommended to have a solid resonant head for maximum tonal quality. |
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Nady DMK-5 Drum Mic Package $119.99 The Nady DMK-5 Drum Mic Package includes 4 DM70 tom/snare mics, one DM80 kick drum mic, and a case. DM70s are perfect for miking snares, toms, and percussion with no bleed through from other pieces. With neodymium element for max output and super-high SPL handling capacity. The DM80 is specifically designed for kick drum with extended low-end response. |
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Nady DMK-7 Drum Mic Package $189.99 The Nady DMK-7 Drum Mic Package includes 4 DM70s, one DM80, and 2 CM88 mics in a fitted case. DM70 mics are perfect for miking snares, toms, and percussion with no bleed-through from other pieces, neodymium element for max output, and super-high SPL handling capacity. The DM80 microphone's specifically designed for kick drum with extended low-end response. The CM88 cymbal mics feature an extremely uniform and tight cardioid polar pattern for easy mixing. |
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Blue Drum Mic Kit $2747 Inspired by some of the most important recordings in music history, Blue Microphones has created the Blue Drum Kit Kit for an easy solution to replicate the fabled '3-mic' drum miking technique that professional engineers have used for years. The Blue Drum Kit Kit consists of the award-winning Mouse and a stereo matched pair of Dragonfly microphones. These three microphones complete the sonic spectrum needed in producing a full-bodied, live recording session for the most discerning drummer and engineer.Mouse MicrophoneThe Mouse's hand-tuned capsule is specifically designed to capture the thundering lows of bass and baritone vocals and low-end instrument sources. Enclosed within a rotating spherical grille, the capsule can also be positioned and adjusted into the smallest of spaces for applications where versatility is paramount. The Mouse is perfectly suited for kick drums, acoustic bass, electric bass amplifiers, snare drums, broadcast and voiceover work, and any other sources where accurate reproduction of low frequency transients is paramount.Dragonfly MicrophonesThe Dragonfly generates a silky extended top-end, contoured midrange and a bump at the upper end of the lower frequencies that thickens thin signal sources. With an integrated elastic shockmount and rotating head, the Dragonfly utilizes its innovative industrial design to enable quick and precise mic placement on the fly. The Dragonfly is ideally suited for high-frequency sources like alto and soprano vocals, percussion, electric guitar, drum overheads, and "difficult" sources such as stringed instruments.All three mics and their schockmounts come in a protective metal case with a plush interior that had cutouts to keep your mics safe between uses. |
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Gear One Mk1000 Kick Drum Microphone Black $49.99 The highly affordable MK1000 is a dynamic mic designed for low frequencies. Its supercardioid polar pattern provides maximum isolation onstage for greater gain-before-feedback. Its 30Hz-10kHz frequency response is tailored for kick drum with a slight boost at 80Hz (where kick drum lives) and a presence peak at 3kHz and 9kHz for clear and articulated attack. Max SPL: 146dB |
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Audix F6 Kick Drum & Bass Frequencies Microphone $139 The Audix f6 Fusion Series bass frequency microphone is purpose-built for kick drum and other low-frequency instruments, including large toms, and bass cabinets. The Audix f6 drum mic is lightweight, compact, and easy to position. With a wide frequency response of 40Hz-16kHz and the ability to handle sound pressure levels of 140dB, the f6 is an excellent choice for miking instruments requiring extended low frequency reproduction.Featuring the same depth and "no-EQ-necessary" performance as the Audix D6, the f6 boasts a little more midrange punch, also making it suitable for more aggressive styles of music, such as hard rock and punk. Another great benefit of Audix' purpose-built mics is the ease of placementthey sound great no matter where you place them (within reason), so a "walking" kick drum, or active performers bumping the mic is rarely a problem. The Audix f6 has a hypercardioid pickup pattern for isolation and feedback control, and an LM (Low Mass) Type A diaphragm for natural, accurate sound reproduction. It employs a transformerless design for transparent reproduction, while its low-impedance, balanced output provides interference-free performanceeven with long cable runs. It's roadworthy construction includes a precision cast zinc alloy body, black coat finish, laser etched model and serial number, steel mesh grill, gold XLR connector and a tension-fit heavy duty nylon mic clip. User tips:The f6 is designed with low output in order to compensate for instruments having very high sound pressure levels. For kick drums, start with the mic inside the middle of the drum positioned slightly off-center, pointed towards the beater. For more attack, and less bass boom, move the mic closer to the beater. For less attack and more bass, move the mic further away from the beater. For kick drums without hole in front head, place the f6 a few inches from the head for a large dynamic sound. For toms, position the mic 2 inches from the head and point towards the center of the drum. For bass cabinets, position the mic 90 to the grill cloth and 1 - 2 inches inside the edge of the speaker.Compact, lightweightCast zinc-alloy bodyLM (low mass) type A diaphragmStudio-quality soundExcellent mid-bass punchHandles high SPL without distortionGreat for both studio and stage Roadworthy constructionDesigned, assembled, and tested by Audix in the USA. 3-year warranty Applications for stage and studio:Kick drumKettle drumFloor tomBass cabinetsLeslie bottom |
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Nady DM-90 Dynamic Kick Drum Microphone $39.99 The Nady DM-90 Dynamic Kick Drum Microphone was specially designed for the most accurate reproduction of extended low-frequency instruments and amps. The Nady DM-90 mic features a dynamic element and large diaphragm for capturing the attack, punch, and high SPL of bass drums. Supercardioid pattern for ultimate feedback rejection, and a rugged die-cast body with internal shockmount and hardened steel grille. |
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Sennheiser Evolution E902 Dynamic Kick Drum Microphone $199.95 Winner of the TEC Award for Outstanding Technical Achievement (2005) and the m.i.p.a award for Best Drum Microphone (2005), the Sennheiser e902 is a dynamic mic designed to reproduce the lowest bass sources and handle extremely high sound pressure levels. It is ideal for kick drums, bass guitar amps, tubas, and any other bass instruments. Exceptionally clean and clear reproduction of the deepest bass signals. Cardioid pickup pattern. Frequency response: 20Hz - 18kHz. Rugged construction for touring stage applications.Frequency response optimized for kick drumVery fast attackExceptionally clean and clear reproduction of the deepest bass signalsIntegral stand mountHum-compensating coilShock-mounted capsuleRugged metal body |
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B-Band Ukko-K Single Kick Drum Contact Microphone $99.99 The B-Band UKKO-K kick drum contact mic system is a remarkable way to capture the true tonality of your kick drum consistently, conveniently, and with extreme isolation. This system consists of two important components: the UKKO DMK preamp, built with high-quality class-A electronics, and the UKKO DST1 Contact mic for superb tone. This system will work with any size kick drum, and gives you high-resolution sound, and easy setup!This mic system was designed to be able to blend-in visually with the drum kit. That is why B-Band designed the DMK preamp to be chrome colored to match most drum hardware. It is an extremely lightweight system that does not add any noticeable weight to the drum, or get in the way while performing like most other drum mic systems. It also very robust and durable, and will endure rigorous touring.Setting up and tearing down have never been this easy. The DST1 has an adhesive back that mounts easily and discreetly on the inside of the drum shell near the batter head. The DST1 lead wire is fed through the drum air hole to the DMK preamp. The preamp mounts in the air hole outside of the drum, and was specially designed to not interrupt the flow of air as the drum breathes. Being as the DMK preamp is so small in size, there is no need to remove it to put the drum in its case, leave it on and be ready for the next gig or studio session. To better capture the low frequencies of the kick drum there are two mini switches inside the DMK preamp that contour the sound for a choice of tone. One switch controls a -6dB mid cut at 330 Hz and the other is for a +6dB high boost at 5 kHz.If you have a hole cut on your resonant head or if there is no resonant head on your kick drum, this will make the UKKO-K sound thinner. It is recommended to have a solid resonant head for maximum tonal quality.Extreme isolation of each drum with no bleed from other drumsMounts without modification to the drumReduces the need for audio gate effectsUltra-quick setupsNo need to position mics or mic stands; just plug a standard XLR cable into the preamp and playClean looks without the clutter of mic stands |
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CAD KBM412 Bass and Kick Drum Microphone $69.99 THe CAD KBM412 Bass & Kick Drum Microphone is specifically designed for bass drum and other low-frequency sources. Its large neodymium diaphragm element offers extended low frequency response down to 25Hz and high SPL handling. Rugged die-cast microphone body with a hardened external screen retainer (also includes a shockmount saddle), provides isolation and excellent protection from mechanical noise. The CAD KBM412 also performs extremely well as a dynamic mic for large toms and other large-diameter percussive instruments in addition to bass and guitar amps. |
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Digital Reference DRDK7 7-Piece Drum Mic Kit $181.99 The Digital Reference DRDK7 7-Piece Drum Microphone Set contains microphones optimized for every type of drum and cymbal. Proper recording means that each drum in your kit requires a specific miking approach, and the DRDK7 microphone set delivers. Included are a DR-K100 kick drum mic with clip, 4 DR-ST100 snare/tom mics with clips, and 2 DR-C100 condenser overhead mics. The 7-piece microphone set provides the ideal punch, detail, and clarity for stage performance or studio recording. The low-profile mics mean minimum visibility, while the resilient microphone mounts reduce stage clutter with secure rim-mounting and versatile positioning. The Digital Reference mic set even includes a hardshell carrying case with die-cut foam compartments and an integrated handle. |
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Kelly Shu Composite Kick Drum Microphone Mount $47.95 Composite series Kelly SHU mounts are incredibly strong and durable. They are made using high-density reinforced compounds and are injection molded under a tremendous amount of pressure. The Kelly SHU Composite accepts any standard kick drum microphone that has a threaded base or mic clip. The Kelly SHU Composite series also gives you your choice of our exclusive internal and external installation options, both within the same product. All the installation components that ship with the Composite series mounts are the same as is included with the Kelly SHU Pro Systems. The System requires NO DRILLING for installation.Composite Kick Drum Microphone Mount Strong and durable Accepts any standard kick drum microphone Internal and external installation option No drilling required for installation The Kelly SHU Composite System includes The Kelly Shu composite SHU mounting unit 10 installation adjustment holes with grommets 16 support cord hooks 2.75 ft of solid rubber support cord 8 interior installation loops Universal microphone post with standard threads Oversized jam nut Complete installation instructions |
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Ultimate Support 17231 Microphone Stand List Price: $49.95 Sale Price: $21.26  |
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15 3/4'' boom with reliable tightening knob.. Heavy-duty low-level weighted base stand with boom . Scratch-resistant powder-coated finish. Easily adjust stand height with reliable turn clutch |
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Electro-Voice PL33 Kick Drum Microphone List Price: $139.00 Sale Price: $62.50 |
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The PL33 is designed for kick drum, low toms and low frequency instruments, and is price positioned to compete with other leading models. Delivering all of the tight punch and transient snap necessary for today's demanding sound requirements; the PL33 is destined to become a staple in every professional soundperson's arsenal of mics... |
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On Stage MS7920B Amp and Bass Drum Short Microphone Stand List Price: $45.99 Sale Price: $23.04 Used From: $22.85 |
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The On Stage MS7920B features a U shape base instead of the heavy tripod design. Great for kick drums or amplifiers. Height Adjustment: 8-14 Boom Length: 16 Base Spread: 4.5- 7.5 |
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JamStands Low-Profile Microphone Boom Stand List Price: $40.99 Sale Price: Too low to display |
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Heavy-duty, low-level performance stand for every-day use. 19.75-inch boom with reliable tightening knob. Strong, die-cast leg housing. Scratch-resistant, powder-coated finish. |
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Audix D6 Sub Impulse Kick Drum Mic Sale Price: $194.82 |
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Designed for kick drums and other low-frequency instruments! The D6 is an American-made instrument microphone designed for live and studio performance. Characterized with a cardioid pick-up pattern and a frequency response of 30Hz-15kHz, the D6 instrument mic is an ideal choice for kick drum, bass cabs, and other instruments requiring low frequency reproduction... |
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Samson Audio MB1 Mini Boom Microphone Stand List Price: $94.99 Sale Price: $23.95 Used From: $21.56 |
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The ideal low profile boom stand for miking drums, speakers and anything close to the floor. Features die-cast and steel construction. Mic clip included. |
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Shure DMK57-52 Drum Mic Kit with 4 Free Mic Cables, Kick Drum Boom Stand, and Carrying Case List Price: $950.00 Sale Price: $429.00 |
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No other drum mic kit compares with the Shure Drum Mic Package. This complete core package includes three SM57 microphones, one BETA 52 microphone, three A56D drum-mounting systems, and a lightweight and durable carrying case... |
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CAD Audio KBM412 Dynamic Microphone, Cardioid List Price: $99.00 Sale Price: Too low to display |
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KBM 412 Cardioid Dynamic Microphone. Perfect for “Kick” drum, Bass cabinets and rack/floor toms. |
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On Stage DS7200B Adjustable Desk Microphone Stand, Black List Price: $19.80 Sale Price: $8.80 Used From: $10.76 |
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The On Stage DS7200 is perfect for podcast mics and lots of other applications. The DS7200 is an upgrade to the standard desk stand with an adjustable-height shaft, and a die-cast steel clutch. Height is adjustable from 9... |
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CAD PRO-7 7-Piece Drum Microphone Pack List Price: $299.99 Sale Price: $190.07 |
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This all-in-one drum microphone package by CAD contains one KM212 dynamic cardioid kick drum mic, 3 TM211 dynamic cardioid tom mics with attached drum mount clips, one SN 210 dynamic cardioid snare mic with attached drum mount clip, and 2 CM 217 cardioid mini pencil condenser overhead microphones with external roll-off and pad... |
Something I Said - Chris Shillock Profiled
Something I Said - Chris Shillock
Dwight Hobbes - Pulse of the Twin Cities archives
Ain't many beatnik poets left. Chris Shillock is one. As in true, old-school spoken word. Before even The Last Poets there was Lawrence Ferlinghetti, Allen Ginsberg, Gregory Corso and the rest of that bunch from the early 1960s. They pioneered the spoken-word part of avant-garde theater, preceding the likes of Amiri Baraka (when he was LeRoi Jones), Sonja Sanchez, Miguel Pinero and such contemporary icons as Sekou Sundiata and Rhodessa Jones. These days, in the Twin Cities, we've got premier proponents J. Otis Powell, Louis Alemayehu and Shillock sustaining the genre.
John Christopher Shillock, as he calls himself after he finishes a poem or a book, profoundly impresses—with bleak stuff that is brilliant as hell.
His books include "The Revolutionary's Creed," "Testament of Fear," "Millenium City" and "Irregular Conjugations." And he has read at a slew of open mics, including venues in Duluth, Tucson, Chicago, New York and Mexico. In the Twin Cities, he's all over the place— Minnesota Spoken Word Association, Minnesota Fringe Festival, S.A.S.E.: the Write Place, Powderhorn Arts Festival, Hopkins Center for the Arts, with Michael Quinn and the Virgin Suicides at Terminal Bar and so on. And he has appeared on Minneapolis community access television shows "Art Temple," "Pulse-TV" (no relation to this publication), "Cheap Theater" and, slated for early Dec., "Spectator." On air appearances include guesting on KFAI's "Write On Radio!" and on the pirate station, Radio Free Twin Cites.
He now has a pair of releases that stand to ratchet his career up a notch. "An Invitation to the Terrorists' Ball" offers, in a deluxe DVD package, live readings at a funky space called Skindog Productions. Shillock's richly emotive, baritone delivery of poems and translations is complemented by artful footage that punches up the immediacy of his writing. While watching the performance, you can, if you're so inclined, pull out the booklet and read along to such verse as the title cut's "Throw away your parachute. This is free fall. This is war. Leave your lovers standing there at the corner, where they sold you out so long ago." To boot, it is tightly directed by Ian Shillock, Chris' son.
For Invisible Jazz, Chris Shillock partners with vocalist-composer Tabatha Predovich to head up a deft ensemble. Sparse bedrock (David Gullickson, drums; Tom Zosel, tenor sax; Rich Patterson, guitar/composer; Lynette Reini-Grandell, violin) underscores fluid, expert imagery. Textures range from old-style folk rock (the Marty Balin-Paul Kantner flavored "Ballade") to tasty jazz (the title cut) to an eerie ballad of love and war ("Blue Nile"). Shillock is in fine form with lines like "Invisible jazz in the city, invisible hands pounding on steel. Machinery pulse deep underground. The city shakes on the skin of a drum. You can catch the vibe throbbing in panes of cool glass, high in your lofty window." Predovich's voice is tailor-made for this material. Her dramatic, barebones style puts the right notes in the right places, bringing out the best in each cut, rather than falling into the trap of trying to be artsy.
Shillock brought in two singers before Predovich, writing lyrics and spoken word verse for them to perform. They were, he recalls, "very serious about their musical careers and figured out that this wasn't going to make them particularly rich or famous." Then, Tabatha Predovich answered his classified ad. Shillock initially says he went with her because "I needed a singer. Nobody else would do it. Everybody else quit." With some pressing, he acknowledges that it wasn't at all a case of settling for whomever he could get. "She's got a great voice. Every time I [perform] with her, I'm astounded that this [artist] is working with me. She's got feeling. She takes my words and makes them her own, basically. I can sit and write this stuff and she gets inside the words. She gets inside myself."
One reason Pedrovtich worked out is that she does a bit more than sing—she's a fine spoken-word interpreter with attendant acting chops. She started out in Minneapolis in 1990, creating Velvet Rat — an improv outfit unit accompanied by a rotating line-up of musicians. In 1993, she was recruited by the English band Elysium, and relocated to London. There she wrote, recorded and toured until 1996, over time bringing the band into techno, a still-flowering genre that already showcases the likes of phenomenal Twin Cities songbird Bobbi Miller. Predovich came back to the States, specifically Detroit, Mich., working with the band Radium on a sound culled from goth and punk. Didn't quite work out. So, in 2002, she and musician/songwriter husband, Rich Patterson, put together another band, Uzza. They plan to eventually put it back together in the Twin Cities.
Chris Shillock was born in Lisbon, Portugal and grew up in South America and Europe where his parents served in the U.S. Foreign Service. He's got a B.A. in Spanish from Haverford College in Pennsylvania and a master's degree in philosophy from the City University of New York. In 1972, he left the Big Apple to attend the University of Minnesota. During the '80s he got active in several communist and anarchist groups. Since then, he has adopted the working hypothesis that "the creative life is itself a radical act in a world dedicated to ignorance and exploitation." Along the way, he also dedicated himself to raising a family. He's no longer married but does have three sons and as many grandchildren.
Hard as it is to figure for one of with sterling output, the man's been doing poetry only the past 10 years. Before that, he says, sitting at the desk in his book-filled, downtown Minneapolis apartment, "I was trying to overthrow the government, abolish property, make everyone the same." Usually, when I hear somebody talking like that it's cause they're homely as a mud fence or mad as a hatter and, either way, can't get laid, much less get a life. So, they fill the void with some nobly maniacal manifesto. Shillock's handsome enough. And is not crazy (apparently, at least, any more than most creative types). He is, though, as I can see in his perfectly lucid stare, absolutely serious. It also turns out he isn't talking about just the government, he's talking about any and all government, period. OK, why? "Because, it makes sense. They're no good. They're all rich. They keep themselves in power. Everybody would be better off if the goods were distributed evenly to the people that actually do the work, that deserve it." Very well, he is a real, live anarchist. "Any government is a form of oppression. We are perfectly capable of governing ourselves. Certainly the distribution of property is inequitable. Those of us [who] create the property, that do the work, don't get it. It all goes to a handful of people that don't do anything. Except own the means of production. Everybody would be better off if there were actually no property. Then, everybody would have more rather than a few people having a whole lot and most of us having almost none." He has never used the Freedom of Information Act to see what FBI file or files exist on him. He did, however, include the message on his answering machine from FBI Task Force Agent Robert Wagner (St. Paul branch) as an audio track on his DVD.
What prompted this freewheeling enemy of the state to become a poet? "I've always done some writing. I did a lot of political writing. [But] I got kicked out of every [political] group I was in. So, I'm thinking, ‘What can I do?' I met this guy, Scott Vetsch, at a bookstore in Dinkytown. He invited me to a party. They were nice people. And they were having a reading [at] one the bars downtown. Why don't you come on? I went. I saw it and I figured, ‘Hey, I can do that.' And so I did. Not that he was filled with a world of self-confidence. "People I respected said I was [good]. I don't have that feeling within myself certainly. I look at my stuff and there's stuff there that makes me cringe. I really don't know what I'm doing a lot of the times when I'm writing. I just sit there and keep at it until somehow it comes out right. I don't really know, a lot of times, until I perform. When I'm on stage. That's where I get the feeling, I guess. A lot more than sitting and trying to sound it out in my head."
Modest to a proverbial fault, he was pretty surprised when I told him Pulse had assigned a story on him. Though it didn't catch him completely out of the blue. The publisher's long been an admirer. "Every time I go in there, Ed [Felien] has me take my shirt off." That's so Felien can admire a tattoo on Shillock's left shoulder, an image of French anarchist Pierre Joseph Proudhon above the legend, "La propriete, c'est le vol" ("Property is theft"). "For some reason, Ed thinks I haven't sold out. Of course, I have. You don't get our age without selling out." Shillock's 65. Felien's not talking. I spoke with Emily Carter, a good friend of Chris Shillock and probably the baddest white woman in Twin Cities lit. She corroborates that his modesty is misplaced. "Two things about Chris' work stand out for me," Carter states. "One is the training and discipline that his background in the classics [St. John of the Cross, Ezra Pound, Leonard Cohen] and knowledge of language gives his poems. The other is their integrity. Of course, quality plus integrity often add up to obscurity and that may be why Chris hasn't been able to quit his day job. Or retire. After a life of hard work and dedication to his craft." She disagrees, though, with that business about his having sold out. "Chris is practical, of course. He's managed to live la vie boheme (the bohemian life) long past the point when most of us either started out for the suburbs, went crazy or died."
On the cover of Invisible Jazz, Chris Shillock looks meaner than hell. Glowering beneath a black, gunslinger brim, clad in Johnny Cash-black, he reminds you of, say, John Huston, with that weathered, wizened thing. Beyond the requisite poet's mystique, though, the guy's a pussycat. A grizzled old kitten. "People," he acknowledges, "always say I'm a nice guy." Then, he adds, "But nice finishes last. I want people to see the dark side [of me]."
It's Nov. 18 at the ever eclectic and eccentric Patrick's Cabaret. The billing is Christopher Shillock/Tabatha Predovich. And things are not off to what seems a promising start. Less than a half-hour to showtime the sound check is done, but exactly three people have walked in the door. I dread the prospect of a talent like Shillock having to perform in front of maybe a polite handful of patrons in one of those awkward, dead houses, where the applause is self-conscious pitter-patter, embarrassing everyone there—performer and audience alike. Ten minutes later, I look up from scribbling notes. There is traffic, after all. Seats fill. In the lobby, a knot here, a knot there and, by a quarter of, it's a crowd. Hell, J. Otis Powell is in the house (the lone black face in the place besides mine). There's smiling, chatting, the touching of one another on the arm: all the makings of a nice, warm get-together. I spot, in the background, taking money, serving tea, coffee and fancy water, Patrick Scully, a soft unassuming presence tall as a tree, looking for all the world like a kinder, gentler Clint Eastwood.
It doesn't take long to reveal that Shillock may just be onto something hot with this ensemble. There is, straight off, the image—like it or not, given the choice between art and art with compelling stage presence, audiences will eat up art with compelling stage presence every time. Without his practically ever-present hat (someday he's going to find it missing and a ransom note in its place), wearing glasses, he looks like a lecturing professor—who happens to not have any color in his closet except black. Tabatha Predovich, on the slim side, in black jeans and a black blouse, with straight, two-toned (red & black) hair, has a model's face and a stark gaze that would choke a pimp's best line off, dead in his throat. With these two in front, you've got the crowd's interest before anyone says or sings a word. As the set starts off, I look around at some fascinated folk: all very white, very earnest and much impressed, enjoying the hell out of some authentic bohemia.
Good thing: Tonight, the sound isn't particularly well-mixed. The first number, "Dark Night," works because it's pretty much all Shillock, voicing lines like, "It was an Edward Hopper evening in our hotel room downtown. Light dredged in through the curtains. It tangled in our clothes. It set our garments glowing in the dark and polished woods.We draped ourselves in twilight for our furtive little waltz, our bodies hid in marble, that was veined with alcohol." When the drums, sax and guitar kick in for the second number, "Invisible Jazz," Predovich's vocal vies with the sax. Shillock is drowned out. Things work out better for "Orgy Song," ribald humor for the erudite, that has Shillock and Predovich trading rich one-liners to depict a horny couple imagining hot enough sex between them to satiate a roomful of Old-World Romans. With "Blue Nile," the sound finally balances out. Shillock gives a reflective read, Predovich ringing clear in ironic counterpoint. The brief set is over. The crowd's happy. And I'm hoping (in vain, it turns out) that I can make it back tomorrow night, when the sound problems should be fixed and violinist Lynette Reini-Grandell is scheduled to sit in.
Up next for Christopher Shillock/ Tabatha Predovich is a show on Dec. 11 at Acadia Café in South Minneapolis, for which Shillock has engineered a strong bill: His band, Desdamona and David Daniels & the Talkin' Roots Crew.
Hip-hop star Desdamona, is about a break this side of going national. She bagged a fourth Minnesota Music Award with her CD, The Ledge, and is gearing up to go in the studio for the follow-up, projected for early next year. David Daniels, ganja guru to the counterculture set, uses spoken-word to lens American life through Rastafarian sensibilities. His concept CD, Talkin' Roots, sold out before he had time to even think about financing a second printing.
Shillock picked this lineup for a reason aside from the mere sight of watching poetry fans, hip-hoppers and stoners sitting around giving one another funny looks. He believes in breaking down boundaries between spoken-word genres. Desdamona's looking forward to it for the same reason. "I like being a part of an eclectic bill and hearing what other people are doing," she says. "It gets stifling and uninspiring to be around artists that are making similar kinds of musical expression. It feels like there is no expansion and we get caught up in our style or the way we think we're supposed to do it. It gets too comfortable. I like to be uncomfortable. You can feel yourself changing in the moment." As for Daniels, "I know from my own experience with hippie stoners that they are very reluctant to support artists who are not fellow hippie stoners. One of the reasons I invited Chris to be part of David Daniels & Friends at Surcumcorda (in 2001) is that I wanted to inspire hippies to explore good work outside of that realm, following the spirit of The Grateful Dead who once brought Miles Davis to open for them."
Ultimately, Chris Shillock's performing and writing is driven, he attests, by "the same [thing] that drives my politics. I want to restore poetry to its preeminence as a popular art form. Also to use it to make people feel and think. And, then, to act."
About the Author
Coming: "Angels Don't Really Fly" EP by Dwight Hobbes & The All-Star Hired Guns featuring Alicia Wiley. The crew: Me, Alicia Wiley, Stanley Kipper, Chico Perez, Jeff "Boday" Christensen, Aaron "Orange A.C." Cosgrove and Yohannes Tona. Singer-songwriter Dwight Hobbes recorded the single "Atlanta Children" (BeatBad Records) and gigged 10 years in the Long Island/NYC area, including The Other End, Kenny's Castaways and My Fathers Place. Fronted the Boston blues band Midlight. In Minneapolis, Hobbes opened for David Daniels at First Street Entry, James Curry at Terminal Bar, sat in with Yohannes Tona, Alicia Wiley at Sol Testimony's Soul Jam, The New Congress at Babalu, Willie Murphy at the Viking Bar and Wain McFarlane & Jahz at Lucille's Kitchen. Dwight Hobbes still drops in at the occasional open mic around town. Dwight Hobbes has written for ESSENCE, Reader's Digest, Washington Post, Minneapolis Star Tribune, St. Paul Pioneer Press, City Pages, Mpls/St. Paul, MN Law & Politics, Pulse of the Twin Cities, Twin Cities Daily Planet, Women & Word, San Diego Union-Tribune, The Circle, to Minnesota Spokesman-Recorder (where he contributes the commentary columns Hobbes In The House and Something I Said. He's spoken his mind over National Public Radio, Minnesota Public Radio and KMOJ in Minneapolis and St. Paul. Was regularly featured as guest commentator on NewsNight Minnesota (KTCA-Minneapolis/St. Paul) and Spectator (Minneapolis Television Network). His monthly column "Hobbes In The House" in MN Spokesman Recorder comments on domestic abuse and rape. His plays are Shelter - produced at Mixed Blood Theatre by Pangea World Theater, Dues - produced by Mixed Blood Theatre, University of Southern Illinois in Point of Revue, selected for Bedlam Theatre's 10-Minute Play Festival and published by Playscripts, Inc. You Can't Always Sometimes Never Tell - produced by Theater Center Philadelphia, Long Island University, reading at The Kennedy Center and published in the anthology CENTER STAGE, In the Midst - produced by Long Island University, starring Samuel E. Wright. Hobbes spoke on the panel "Farewell To August Wilson" at the Guthrie Theater, broadcast on Conversations With Al McFarlane (KFAI, KMOJ). Twin Cities Daily Planet articles archived at www.tcdailyplanet.net/dwighthobbes