Music: Underground radio

Keller Williams tunes in with unique approach

By Mike Prevatt

The irony of his radio show's success is not missed on singer/songwriter/guitarist Keller Williams. Here's a man who, in the current commercial radio environment, will likely never get his material played on the air, let alone score a hit single. And yet, station programmers have given the Fredericksburg, Va., musician an hour every week to play whatever he wants.

"The radio show is an hour long, and it's definitely not easy getting that on the radio," says Williams. "And my songs are usually a couple minutes, so I would say it's easier to get my songs on the radio. Some people want to fill [air] time with something maybe a little unique, a little different than they're used to having."

For nearly six months, Williams has aired his "Keller's Cellar: Somewhat Ruleless Radio" show on a handful stations. The decidedly free-form show mostly showcases improv/roots acts like Drums & Tuba and Motet, but gives ample time to jazz (John Scofield, for example), R&B figures (India.Arie), hard rock (AC/DC) and hip hop (Fugees) artists as well. He has no interest in musical trends or buzz artists--just music he deems good, and particularly the kind he's already covered as part of his live sets.

"I just play what I like," says Williams. "Some of it is simply that which has completely influenced me. Sometimes I'll play a song that I've been covering a lot. I just do this for myself, a hobby, to document the stuff lying around and in danger of being stepped on."

It's also another way to use the vast tape-trader network that's become a cornerstone of the jam/roots rock movement. What Williams, who allows his concerts to be taped by the audience, doesn't buy himself or get shipped from indie labels, he obtains via bootlegs. It's an extension of his musical personality--spontaneous, eclectic and open to anything at any given time.

Which brings us to his latest album, Home, distinct within the eight albums that make up his discography because it was done all by himself, save a couple of loops. Most of it is just Williams freestyling with his Joe Veillette custom baritone guitar, but he's also the man behind all the varyingly numbered string instruments, keyboards, left-of-center instruments, handclaps, vocal trumpet impersonations and human beatbox solos. And he didn't miss his usual gang of guest players, either.

"When I do my records, I've always used these fantastic musicians I've crossed paths with, and I've never really let myself do the solo thing," says Williams. "So I wanted to give it as try and I really had a great time. It was really relaxing and nonstress-oriented. If I messed up, I'd go back and do it again, and not worry about telling someone it was bad. I'm pretty good at telling myself it's bad, and I can take it when I tell myself that."

Williams once characterized his music as "solo acoustic jazz-funk-reggae-techno-grass"--as accurate as any description--and he furthers the quirk factor with often humorous, often absurd, always unconventional wordplay, not unlike his peers on the jamband circuit (such as Phish and the String Cheese Incident, the latter's SCI Fidelity Records being Williams' label). But does the guy usually written up as "quirky" and "warped" consider himself misunderstood?

"No, they're pretty right-on with their descriptions," says Williams. "I'm definitely trying not to get too deep with things. But I can relate to those who do, because that's what the artist is feeling, like big heavy political songs or love songs. I can totally relate to that. I'm usually feeling pretty quirky and warped. I don't really care what people say about me as long as they talk about me. I don't care what you call me, just call me."