By Jodi Root

I’ve had the joy of catching indie/alt-rock/hip-hop hybrid mastermind Tim Fite everywhere from New York and Austin to Chicago (well, actually that about sums it up), multiple times in the past few years—last night being my fourth encounter in the past year alone. Fite, who’s been touring seemingly non-stop in support of Anti Records’ “Fair Ain’t Fair,” since its release last spring, was back in Chi for the umpteenth time in the past six months –but this time around he was in charge—headlining. I had been getting used to watching Fite’s endearing attempts to win over various crowds as the forever opening act, whether it was Les Claypool, the Watson Twins, or as part of this last year’s Hideout Block Party—but this was the first time the spotlight truly belonged to him and his partner in crime, Dr. Leisure.

The infamous duo took to Schuba’s stage around 11:00; minutes after Fite had brushed past me sporting a navy jumpsuit, stating matter-of-factly to no one in particular, “I gotta pee.” Upon his return, the now bib overall/suit jacket gentleman got the crowd whistling and roaring in approval with the opening “Gone Ain’t Gone” number “I Hope You’re There.” Fite and Leisure kept the masses on their toes, with the forever colorful AV presentations, various crowd interactions and group exercises (literally—“Head, Shoulders, Knees and Toes,” as well as the grunting remix of “Itsy Bitsy Spider,” were just a couple of several examples), and everyone was laughing, singing, stomping and cheering. Good vibes were aplenty.

The set itself lasted roughly an hour, staying consistent with every other set list I’ve caught the past year with the exception of a few additions including a new animated short featuring a not so cuddly finger eating koala bear as well as a track I hadn’t heard before, “Take your medicine, take your daughter to work day, it’s her birthday. . .” Catchy, whatever it was. Other regular staples included: “JoJo Bobby, Stab a Motherfucker,” “Big Mistake”—(which received huge crowd appreciation), “The Garden,” “Clothes,” “Line by Line,” and the super catchy “Burn it Down” (see vid above, you may like, dude on the right side of the cam sure did.) Fans swarmed to Fite and Leisure immediately following the set, and the forever humble gentlemen hung around, posing for photos and saying hi to new friends. It was a spectacular evening and I can’t send enough praises or thank-you’s to Fite for the forever good times.

Previously: Tim Fite Interview
Previously: Review: Tim Fite – Lakeshore Theatre, Chicago
Previously: 5 Questions with Tim Fite

Buy: Tim Fite
++
Myspace: Tim Fite
MP3: Tim Fite – “I Called For You”

One of my favorite fellas, Tim Fite, brought his eclectic fun time jams back to Chicago last evening as he rocked the stage at one of my favorite venues, the Lakeshore Theatre. The set was a little shorter than the last time I caught him, but I’ll count that up to the fact that it was a later show and the he had to allow plenty of time for the lovely headlining Watson Twins.

Fite seemed much more in his own realm this time compared to the last time I saw him, playing crowd favorites from Gone Ain’t Gone, Over the Counterculture and Fair Ain’t Fair. His delightful AV presentation and glow brite boombox set up were in full effect, and his cohort in crime, Dr. Leisure helped up the crowd’s ante, running and screaming amongst the sit down venue. The usual story breaks were present and accounted for, including “What Dogs Eat,” the crowd participating “Head, Shoulders, Knees and Toes,” “A Drop in the Bucket” and my personal fave, “Jo Jo & Bobby Stab a Motherfucker” which Fite himself described simply as “a bird and a cat who have slightly sociopathic tendencies and like to enjoy a sandwich.”

I got the opportunity to shoot the breeze with Fite after his set and we chatted on everything from his influences from Public Enemy, (he knows all the words, but sadly, will not be able to make their set this evening at Pitchfork); how he met Dr. Leisure, (they met either the day he was born—or maybe it was the day after); his college education, (Rutger’s University—Print Making and Africana Studies); touring with Adam Greene of the Moldy Peaches, (he was great—“loved the riddles”); his participation with an upcoming video shoot for My Brightest Diamond (something about puppets); how he’s “So bad at having a good time,” (I rebutted that he had all us in the crowd convinced otherwise to which he blushingly replied, “No that’s the fun stuff, I mean actually going out and leaving my apartment, I’m not so good at that,”); and how the “young people of the world, who will fall down if their pants aren’t on tight enough, they need to realize the world doesn’t revolve around them, the young people—it revolves around ALL people.”

Basically, we had a chummy good old time. I observed Fite smile and hug his fans, some of them pretty mega-fans indeed, and indulge every question and story shot at him ranging from his birth town to some story about a Target parking lot. As he finished packing up his equipment concluding his set, the circle of Fite fans chanted, “One more song!” to which he enthusiastically replied, “We can sing more together in the hallway when I’m done here.” I guess that’s the kinda guy Tim just is, a people pleaser and fun lovin’ artist—I had to email him the real questions I had prepared for our interview last night since I enjoyed talking so much I couldn’t stop to scribble any of his responses—so you all can expect more from Fite in the very near future.

Set List:

1. I Hope Yer There
2. Line by Line
3. Big Mistake
4. The Barber
5. It’s All Right Here
6. No Good Here
7. More Clothes
8. Away From the Snakes

Myspace: Tim Fite

I’m a big fan of Tim Fite. He’s quirky, fun, neat and eccentric as hell. Fair Ain’t Fair dropped this past May and it’s been on my regular rotation of chillaxin Sunday albums ever since. Fite will be once again gracing the stage at Chicago’s Lakeshore Theatre on July 17th, this time with the lovely Watson Twins. I was lucky enough to touch base with Fite to continue with our continuous 5 Questions with Muzzle of Bees feature to pick his brain a bit.

Could you lend some information on the recording process of Fair Ain’t Fair? Where and how was it recorded, and were there any lessons learned towards future recording sessions?

FAF was recorded in four main sections. First I went to my old high school with Rob Badenoch and Justin Riddle, and we recorded all kinds of crazy drums. Rob has more microphones than I do, and a really nice portable rig, so we set up at the school, and I had Justin let loose at a variety of tempos. These drums would be sample fodder for the rest of the record.

Second, I started stealing from other folks records the way that I always have. I would build new song structures out of old ones, and add on lots of other parts (this I did at home in my underwear).

Third, I went back to the high school with Rob and Justin and Doctor Leisure, and a long list of talented friends, and we added all of the instruments that I don’t have at home – like pianos and lap steels and mandolins and tympani drums. For these sessions, I would just have folks jam over the song. No one was allowed to stop if they made a mistake. We didn’t listen back at all.

Fourth, I went home, and cut and pasted and dismembered all of the material recorded in step 3. Then I did my singing.

Next time I record, I am going to put less pressure on myself.

Your live shows and album art boast some pretty crazy illustrations. How would you rate your knack for art versus that of creating music? Do you find that they go hand and hand–Several of your tracks almost echo musical collages with your various samples–where do you find the inspiration for these eccentricities?

I think that everything starts with making pictures. And it will end with making pictures as well. As much as it may seem that the music is a vehicle for the pictures, music is simply the spoon full of sugar. I do approach song making like it is picture making. I like to produce things that are striking and simple at first, but upon further inspection are worthy of further inspection.

What was your first album you ever owned? Is it one that you would still go back and listen to today?

Bobby McFerrin – “Spontaneous Inventions.” I listened to it last week.

The internet has dramatically altered the way artists can reach an audience. With things like blogs/MySpace/etc, what are your thoughts on the power of the internet in terms of helping (or hurting) your music?

I think that the internet is a double edged sword. One side makes it easier to get material out into the world, while the other side cuts the world to so many little bits that all its material slips slimy through the fingers.

We’re always looking to uncover new favorite artists, are there any band(s)/record(s) that you could recommend to our readers? If you were to play an entire set of someone else’s songs, whose material would you choose and/or enjoy playing the most?

Everyone should listen to Whitman. He is the new captain of death’s ship. If I were to play an entire set of someone else’s songs, I would play the songs of Body Count.

Myspace: Tim Fite
MP3: Tim Fite – “I Called For You”