Photo by LT

© 2011

Photo by LT

© 2011

Photo by LT

© 2011

2010 One Sheet Bio

Electronic Press Kit

Press

Eternally youthful, aging bar still evolving

By Anna Kim : The Herald-Sun
chh@heraldsun.com
Sep 21, 2008

CHAPEL HILL -- Twenty-three years ago, Mouse Mock walked down a narrow staircase at 452½ W. Franklin St. and into The Cave. That night, The Cave provided him with his second legal beer and a first impression that has stayed with him ever since.

"That day I fell in love with the place," Mock said. "I have never left."

That walk down the dark staircase next to West End Wine Bar leads visitors through a door that has welcomed the likes of Tift Merritt, The Avett Brothers and Lyle Lovett.

Inside, visitors may find 42-year-old Mock sitting at the bar in a straw cowboy hat, with a cigarette and a bottle of Pabst Blue Ribbon in hand, looking more like a young patron than the bar's owner.

His name, he said, is actually Mouse. "It's not a nickname," he insisted. "It's just my name."

"He doesn't look a day over 25," said Wendy Shadburn, bartender and also a musician known as Taz Halloween. "He's eternally youthful."

The same could be said for The Cave.

Embarking on its 41st year of business in June, it looks just like the esteemed rock-and-roll dive regulars and musicians have frequented for decades. And in many ways, it is.

The bar has maintained its distinct down-and-dirty-pub feel, with dimly lit Christmas lights strung across the low ceiling. Cave-inspired paintings decorate darkened stone walls -- decor befitting one of Chapel Hill's oldest bars.

Don de Leaumont, guitarist and lead vocalist for the band Mystery Road, recalled the first sentence he uttered when he discovered The Cave in 2003.   "What a dump," he said. "I love this place." The Cave was the first place de Leaumont performed as a solo artist after moving to town in 2003 and the venue of choice for his band's debut this year.

The bar also has retained the 2:30 p.m. to 2 a.m. hours established when it used to be a blue-collar hang-out where folks who worked until 5 p.m. could come to relax.

And most importantly, Mock said, the bar has retained its reputation.


"I consider this the first place you play in Chapel Hill," Mock said. "It used to be that The Cave was always the first place you played. You got your feet wet here."

Having attended Frank Porter Graham Elementary School, Phillips Middle School and Chapel Hill High School, Mock knows well the community he calls "the Mecca of music."

But even a cave cannot hide from the changing world.

"The bar has to evolve," Mock said. "Can't change much with the structure itself, but we do have to innovate."

Those innovations have not been easy. In order to stay competitive with other bars in the area, The Cave became a private club in 2005. The bar began to serve liquor and prohibited smoking in the front room. But changes take time, Mock quickly learned.

"That summer I had to borrow money to buy beer," he said. "That was the one time in my life that I was like, maybe it's time to give it up."

He didn't, and has never regretted it. The bar rebounded and has continued to thrive.

Looking to the future, Mock has experimented with live streaming video and video hosting sites like YouTube. He also has visions to regularly feature The Cave on public television to reach a broader audience and for posterity.

"Even though there have been a lot of changes, they have all been subtle changes," Mock said. "I have never fundamentally changed the bar."

He doesn't because he remembers the summer when he was running the bar with only 13 beers in the cooler. He remembers that The Cave is where a woman named Gloria ordered a Miller Genuine Draft and eventually became his wife.

He remembers all the thank-you notes from musicians for giving them a chance or the gratitude in the voices of regulars who thank him for maintaining The Cave.

And he remembers December 1985.

"When I walked in here back then, I felt so much at home," Mock said. "For some reason I knew I would always have a place at The Cave. I just felt at home."

Decades later, he still feels that way. As his day begins to wind down, Mock approaches the bar. And in what seems like could be a scene from 20 years ago -- or 20 years from now -- he grabs a stool, laughing, and turns to the bartender.

"Could I have another PBR?"

© 2008 by The Durham Herald Company. All rights reserved.

Durham singer comfortably folk

Genre guidelines apply on latest LP

By: Bryan Reed, Senior Writer

Durham singer comfortably folk - Arts (link to article)

LOCAL MUSIC REVIEW
Don de Leaumont
Said The Firefly To The Hurricane
2.5 stars


Folk music, like just about every other "traditional" style has been so done, re-done and overdone that trying to make it within the confines of the genre is about as easy as growing up to be 10 feet tall.  So declaring oneself a "folk" singer, free of any hyphens or "indie" modifiers, as Durham's Don de Leaumont does is a brave and bold move.  But maybe "making it" isn't the point.  Maybe, it's OK to appreciate a particular style just because no matter how many times you've heard it, the sound of an acoustic guitar meshing with harmonica never gets old.

And therein lies the rub.  The sound of de Leaumont's latest record, Said The Firefly To The Hurricane, is absolutely pleasant.  Every note feels familiar and comforting; each lyric heartfelt, but again, familiar.  It's a nearly archetypical example of exactly what comes to mind when the term "folk music" is spoken, from the slightest hint of gravel in the voice to the piano or string embellishments.  Imagining de Leaumont perched on a wooden stool, slouched over his six-string as casual listeners nod their heads over gently steaming cups of coffee is less than a stretch.  But that begs the question: Is being merely familiar and comforting enough? Do we really need or want another archetypical folk singer?  And the answer is both yes and no.

Yes, because, quite frankly sharing a cup of coffee with this album would be quite a pleasant experience, and sometimes a pleasant experience is all we need.  But at the same time, de Leaumont would find a hard time reaching a wide audience, no matter how sincere his songwriting might be, no matter how passively enjoyable his music might be.  The genre is saturated. And that's no fault of his.

As refreshing as it can be to hear a songwriter honing his craft with no pretentiousness, just an earnest desire to write a song that is accessible and personal. To that end, Said The Firefly To The Hurricane, succeeds.  There is however, the glaring fact that this isn't really anything new.  It's adequate, good even, but it's just folk music.  At the end of the day, it's up to the listener to decide if being just folk music is enough.  And to decide just how much is left to be desired.

November, 2005

Straight From The Heart Of A Java Juker - November, 2005

We are really wanting to hear from you songwriters that enjoy playing in Coffee Shops. For that matter...we'd love to hear from the venues too! What inspires you to love it...support it? How can those inspirational Java Huts or musicians make it better for everyone?  Our brand new feature effort begins with the voice of Don De Leaumont from Chapel Hill, NC. Don is a friend, peer and wonderfully talented songwriter :) He also happens to be  one of the most motivated and dedicated Folk Singers I know. He brings with him a heart of gold and a support that does not lack anything for the Arlo and Bob's of the folk singing arena :)  He just plain folks! Head on over to his website and listen to some clips. Pop him a note and tell him you read his article and give him some feed back. And all you other Java Jukers out there...send us your stories, we promise to publish them. ~ Annette Warner - Editor 

You remember that Bon Jovi song “Wanted Dead Or Alive”?  You know, the whole “Rock Star as Cowboy” metaphor describing his life on the road and what not?  Well anyways, in that song, he states “I’ve seen a million faces and I’ve rocked them all.”  Well, that’s cool Mr. Bon Jovi but when you’re an acoustic solo folksinger, or duo, or whatever, this isn’t always the case.  Sometimes I like to say that I’ve seen a million faces and I’ve rocked two or three.

We’ve all been there.  You book a gig; you promote the living hell out of it.  You use up all of the ink in your printer making flyers, and you hit the pavement and flyer every flyer post, record store, phone poll, bar bathroom that you can get your grubby mitts on.  You’ve stapled yourself with your staple gun numerous times, you’ve frozen or sweated your tail off, you’ve been yelled at to not “hang your crap here”, etc.  After all that, you get to the gig only to find you’re playing for the barista who’s wishing he/she were anywhere but working and having to hear this po dunk folk singer bitch about the government and how much he/she misses their significant other.

Been there eh?  I have been there as well.  I’ve been there more than once.  So why do I keep doing it?  I do it because I love music.  I love going out and performing for people.  How else would I get to see some of the cool places I’ve seen?  The first time I was ever in Hickory, NC was because I had a gig there.  It’s a beautiful town.  First time I ever went to Greenville, SC was because I had a gig there.  The first time I ever saw Chapel Hill was because I had a gig here when I lived in Charlotte, NC.  Only by being a musician and having gigs in these towns have I been able to see some great new places and meet new and interesting folks. 

I know we’ve all asked ourselves the same questions during the same situation.  Gig, nobody there, why the hell am I here?  Well, let’s be honest, how often to you play a gig when NOBODY is there?  Not very often.  How many times have you played a gig that had three folks there and you were disappointed because it wasn’t 30 or 100?  Probably more times than you can shake a stick at.  That’s just reality and that comes with the kind of music we play.

I had the opportunity to open for one of my heroes, Mr. Kevin Kinney from the band Drivin’ N Cryin’.  He was doing a string of solo folk shows a few years back and was doing a show at the beautiful Sylvia Theater in York, SC.  I had the privilege of being his opening act this night in front of over 100 people, my biggest audience to date.  I remember sitting backstage with him before my set and he asked me, “Hey Don, how are the shows going?”  I told him, “Man, kind of a drag.  I’ve been doing a bunch of coffeehouse gigs playing to like 2 or 3 folks a night.”  He turned to me with this serious look on his face and goes, “Don, when you play a show and there’s 3 people there, you give them the same show and same energy that you would give 30 people, or 300 people, or 3000 people.  They’re there so make them happy.  Entertain them.  Besides, those three folks might know important people that could help you.  Or they may just bring 3 more friends the next time you’re in town if you do a good job.  Give 100% all the time no matter who’s there.  If they’re watching you, you owe it to them.”  I will never forget this conversation.  This will stay with me for the rest of my life.

When I play a show, I try my best to give 100%.  I might not always succeed for whatever the reason but I do try my friggin’ hardest.  So I might not be playing the cool songwriter showcases.  I might not be playing the swank listening rooms or the trendy house concerts.  I play coffeehouses.  That doesn’t make me any less of a musician or less of an artist.  It doesn’t comprise my integrity and it doesn’t get me down.

 I don’t make a lot of money doing this.  That’s why I have a day job.  I do this because I love it.  When a person comes up to me after a song and says, “Hey, I really liked that song.  It made me think of a happy time in my past.”  That’s what it’s all about.  Once a woman came to me and said that I reminded her of a band that she loved when she was in college and that it made her remember how much she loved and missed going to concerts.  Another time, after a show a gentleman told me that I made him remember a time in his life when he was young and didn’t have a care in the world.  He told me that his life is very chaotic and busy but my song made him remember the simple things; the happy things.

That, brothers and sisters, is more payment than I can ever even begin to ask for.  You cannot put a price on that.  That is what it’s about.  It’s not about quantity, it’s about quality.  It’s about giving it your all and loving what you do.  It’s connecting with the song and connecting with the audience no matter how many people are present.  If they’re not listening, don’t get mad, just keep putting it out there and eventually you may turn a few heads.  That’s when you’ll know your making a mark. 

Oh yeah, and don’t forget to tip your barista! 

www.DonOnTheWeb.com 

Encore Music Reviews

August 2005

Written by Kris Asher

Soundtrack for the Lonely: Don de Leaumont at Port City Java

There must be something in the water in the Durham, Chapel-Hill area that breeds many folk singers and singer/songwriters (not necessarily the same thing, although many people have already lost the distinction).

The town is overflowing with these performers, and with such an overabundance, there are bound to be too many of them who just can’t make the cut. Usually, it’s because they lack creativity, heart and/or originality.

Fortunately for us, here in Wilmington, it’s usually the ones who have something new to say, or a new way to say it, who end up making their way to entertain us; such is the case with Don de Leaumont.

As his website states, “he is a traditional soul in a modern world, always looking for ways to bring the two together in a melting pot of heart, soul and pure fun.” For a lesser-known musician, a statement like that would cause me to roll my eyes. But if you have the artistic merit to back up such words, then kudos. Don de Leaumont deserves such praise.

Hailing from Atlanta, Don made his debut performance on Valentine’s Day in 1998 . Though originally a Georgian, he has made himself at home in Durham since his early performances in 2000, with many of his publicity photos and lyrics referring to the North Carolina setting.

A look at his archived set list (from 1998 to present) shows his range, with a large list of originals, as well as covers by Dylan, Phish, Pink Floyd and John Prine to name just a few. Not many people seem to cover John Prine (a true legend in my eyes) and that, to me, reveals his true scope and dedication to his music.

His new album, This Train’s A Comin’, is “a soundtrack for the lonely, the loved, the settled, the wandering and all in between” (I always believe in letting the musician speak for him/ herself when the words say it so well). Every song is as good as the other, so it’s pointless to pick out favorites. Check him out, though, and you may discover your own.

He is currently touring through Wilmington on Saturday, August 6th to play at Port City Java (the 21 N. Front St. location). Don performs two sets, from 8-11pm He will have a limited number of advance copies of his yet-to-be released album to attendees.

Chapel Hill singer-songwriter Don de Leaumont leads folk revival

By LinnieSarah Helpern

Published: Thursday, September 23, 2004

A good folkie is hard to find: this is the lesson taught to Americans after years of failed attempts at reviving the classic folk genre. If the country has learned anything in the last forty years, it is that Bob Dylan, Woodie Guthrie, and Joan Baez were the last of their kind. Still, every now and then a musician comes along that establishes it is possible to breathe life into the likes of folk music and remind the public of how good it can be. One of these rare breeds is Chapel Hill musician Don de Leaumont.

De Leaumont's six-song EP, Postcards from Ghost Town, is an exploration of the sounds created by the folk artists of yore. A combination of ballads and story songs, Postcards feels far more complet e than a typical EP. Each song is either touchingly heartfelt or surprisingly humorous, humming along as de Leaumont makes ample use of his acoustic guitar talents and quietly soothing vocals.

Tracks such as "Walking in New Orleans" and "Biddings Closed" are reminders of a long extinct sound; one that fans of folk music have been sorely missing. Yet track six, "Hey Dave Matthews," explores a concept everyone can relate to, not being able to afford to see a favorite musician. When de Leaumont opines "I can't afford the forty bucks it costs to see you," it's damn near impossible not to flash "rock on" fingers and shake your head forlornly.

De Leaumont pays homage to the classic folkies of yore, yet he doesn't exactly call any of them to mind. His sound is uniquely his own, and that is what makes him so exceptional. The typical lame musical comparisons are impossible to draw because de Leaumont defies them. The song may remain the same, but occasionally it is possible to make it new. Don de Leaumont proves that while folk rock has been gone, it's never really forgotten and it is possible to once again make it good.

Those interested in a reminder of the sanctity of folk music can learn more about Don de Leaumont at www.donontheweb.com.