WHO ARE THE TWO'S?
The Two's are Ruby Rendrag and Suki Kuehn. They live by the creed that music must first be interesting- in variety, content, arrangement and dynamics. So whether playing their originals or select covers, The Two's have forged an accessible, refreshing and sometimes unexpected musical experience. Connecting with many genres of music, The Two's have performed at multiple venues and festivals, and opened for such acts as Heart, Tim Reynolds, Zucchero, Walter “Wolfman” Washington and Bonerama, among others.
Cellist Suki Kuehn was made in Japan (a Navy brat). Growing up he was exposed by his parents to every kind of classical and theatrical music. Although he became a nuclear engineer, Suki has studied cello “on the side” from the fifth grade on. He has lived throughout the US, finally settling in New Orleans after a stint driving subs for the Navy. He plays either an old French cello that for who-knows-how-long lived in a barn south of Paris. Using a few tasteful effects, Suki weaves in texture and force, hinting at rock, folk, jazz, and classical styles.
Ruby – the band octopus - delivers a sultry vocal and sets the groove with her guitar and foot-drum kit. She was born to a Houma Indian Mother and a banjo playing, West Virginian Father. Ruby has been a part of the New Orleans music scene for over 18 years performing as a solo artist, and as a side woman with many local acts. She lives a life immersed in music. As owner and manager of NOLA Muse, she helps local, national, and international artists plan and execute their recording projects. She infuses The Two’s with her bluegrass-Led Zeppelin-80’s underground influences.
During the first ten years, I was exposed to a wide range of music. Nursery songs in Japan, classical music played by my father on the piano and the large cabinet “Hi-Fi”, mother spinning the latest Broadway hits and all the kids (four) taking piano lessons- all were older so the strains of the 60’s hippie music scene started to creep into the house as well.
Ruby has not yet
reached the planet.
I started playing cello in 1970 and after a year of making dying cat noises left it behind. But the music available to me exploded. Surreptitiously borrowing albums from my father and brothers I listened for hours to the likes of Zappa, ELP, Yes, Gentle Giant, Satie, Nielsen, and more. And returning to the cello I played in the high school college symphonies, a pop/hippie band (The Difference), a jazz/folk trio and various solo gigs (for food).
I was made in New Orleans, 1969.
My Dad played banjo and held "jam sessions" in the living room every weekend. Mom loved her reel-to-reel and classic country. My oldest brother was a 50s fanatic. Mom gave me a Kiss record for Christmas when I was 7 or 8. I started playing guitar the following year.
I played my first song on stage when I was ten at Luke Thompson's Bluegrass festival in Folsom, LA. I only knew about half of Loretta Lynn's "You Ain't Woman Enough"
Graduate school got old so I joined the Navy, driving both nuclear and electric submarines. Although continuing to mine both classical and progressive 70’s music, I did “discover” Talking Heads, Tears for Fears, older Pink Floyd and continued my fascination with King Crimson. I started composing instrumental songs using a 4 track cassette recorder, my cello, some cheap-ass percussion and a Radio Shack mini-moog (who isn’t jealous?).
Of my five brothers, one was tapped into music that caught my attention - bringing his 80s underground music into my listening experience. The Cure, The Smiths, The Sugar Cubes, and so many others that are not sampled below. It was during this decade that I played keys in my brother's band with my first show at Jimmy's music club at 16.
Leaving the Navy I returned to New Orleans, and played in a new folk duo (Drifthouse, which introduced me to a slew of amazing singersongwriters). I began to compose in earnest with midi, influenced by Zappa (his orchestral stuff) and Ravel. And knowing there is always more in the past to be discovered, Peter Gabriel.
Ahh the 90s! I loved the music then. It was so diverse - everything from Tori Amos, to Dave Matthews, to Nirvana could be heard on the radio.
I hadn't owned a guitar for about ten years at this point, but when I heard Dave Matthew's percussive guitar, it fired me up and a guitar was back in my hands. This is the decade (1997) I decided I wanted to be a musician.
We realized our musical tastes were not all that different. I brought Suki to see Morrissey, Dwight Yoakam, Gary Numan - he was an instant fan. I was shocked (and relieved), and I could see that these artists spoke to his dark side, that person who never really fit in. Like me! He brought me to see Steve Vai, Yes, and Dixie Dregs. I lOVE watching great musicians and could hear the influences these bands had on my favorite music.
Suki has brought some challenging music to me as a guitarist with songs such as Three of a Perfect Pair by King Crimson and From the Beginning by ELP. And from me, he is so diggin on Lovesong by the Cure and Love is Stronger than death by The The, coming up with some amazing cello parts. It's amazing we found each other.