NYS Music 20​15

Category: Album Reviews

  • Hearing Aide: CBDB ‘The Fame EP’

    The Fame EP

    Southern “joyfunk” group CBDB recently released their EP The Fame, which melds pop and electronic jam influences to create an often warm and upbeat sound with hints of blues-rock.

    Recorded at FAME Studios in Muscle Shoals, Alabama, the four tracks were recorded in one session. The six-piece jamband includes Cy Simonton (guitar & vocals), Kris Gottlieb (guitar & vocals), Glenn Dillard (sax/keys & vocals), Donald Deloach (percussion), Paul Oliver (drums) and David Ray (bass & vocals). The album was produced by CBDB and John Gifford III, mixed and mastered by Don Srygley, with Spencer Coats acting as assistant engineer.

    The first number on the EP “Ground Score,” opens with a brisk guitar riff similar to the opening riff in progressive rock group Lee Terrace’s title track “Deep Blue.” Lively guitar makes way for Simonton’s crisp Michael Jackson-esque vocals. His less poppy, southern-infused singing weaves into the instrumental groove, at points almost seeming to compete with the instrumentation, but breaking off halfway through the track to make way for a playful exchange between guitar and saxophone. The rich saxophone evokes the same horn heavy influences carried throughout the theme music of late night comedy show Saturday Night Live.

    “Echoes in the Room” provides a fulfilling swell of organ that blends beautifully with blues-rock guitar and Simonton’s lyrics, creating a song that ebbs and flows in intensity, seeming more purposeful than the other more jam-based tracks. The heavier guitar in the beginning of “A1A” sets the stage for what one might expect to be a pretty standard, well-layered jam. Guess again. Simonton’s angsty, whining vocals interject in ways that don’t comfortably blend with the song, leaving this pop/rock conundrum to ooze through the speakers like a giant melty cheese ball.

    The FAME EP can be found on cbdbmusic.com, iTunes, Spotify, Apple Music, YouTube, Rhapsody, Google Play, and Pandora.

    Key track: Echoes in the Room

  • Hearing Aide: ‘Miley Cyrus and Her Dead Petz’

    Miley Album ArtworkMany thoughts come to mind when one hears the name Miley Cyrus. Cyrus has made it clear to the world that she is no longer an innocent young girl, and this celebrity never misses an opportunity to stand out in a big way. She dropped an unexpected album on SoundCloud entitled Miley Cyrus & Her Dead Petz at the end of August. The album artwork is pretty striking featuring Miley’s partial face covered in glitter glue and the title in huge pink bubble letters.

    The image looks like a still taken from her “Dooo It!” music video, which has upward of 11 million views on Youtube. The 22-year-old is not afraid to be unique with regard to her image; eccentric might be a modest adjective.

    This album is quite different from the other albums she’s released, especially because she released the album on a non-paid platform. Perhaps she wanted to distribute content gratis as a way to thank her loyal fans, or maybe it was simply an experimental work she didn’t want in her “real” discography. Furthermore, the album is not marked with the Parental Advisory notice for explicit content for the subject matter and numerous F-bombs, which could be problematic if it weren’t on a free distribution platform.

    The instrumentation on the album combines acoustic and non-acoustic instruments, including electronic intergalactic sounds in “Space Boots.” And in “Something About Space Dudes,” the rough acoustic guitar is juxtaposed with electronics, making for a unique mix. It’s definitely apparent that The Flaming Lips helped produce this album with the vocal distortion and various production elements.

    Miley has no filter, and she doesn’t seem to care what people know about her, good or bad. She likes to have fun smoking pot and drinking alcohol. The two shortest tracks on the album, “Fuckin Fucked Up” and “I’m so Drunk” respectively indicate the more adult habits, and they are similar to the substance-induced works by The Beatles. The recordings sound as though she is in these altered states.

    The subject matter is truly all over the place; she sings about guys and sex, pets she used to have, and space dudes she’s encountered while being high. “Bang My Box” and “Fweaky” are quite dissimilar in style. The former is upbeat and catchy, while the latter is a slow ballad, but her detailed desire for sex is evident in both. There are a few emotional tracks, including one that starts with a little monologue detailing her feelings. “I Get So Scared” is a gorgeous track with a simple guitar part and percussion. She explains how she might not get over her last relationship, and how she wants her new relationship to be similar. She’s pretty transparent with her fans.

    “Pablow the Blowfish” is the best track on the album. It’s hilariously emotional as she details how much she misses her pet fish and how difficult it was to see her friends consuming sushi.

    Overall, this album is truly a work of art. It’s not focused on one single concept, and has a great variety of song styles. This star is definitely taking a new creative direction that will keep fans interested and looking for more.

    Here is a link to the album

    Key Tracks: Bang My Box, Pablow the Blowfish, Something About Space Dude

  • Hearing Aide: Beirut ‘No No No’

    I first encountered Beirut midway through a listening session of a good friends of mine’s playlist entitled “When I’m Thinking About The World.” It was the title track of their new album No No No. Immediately I was engulfed in a wave of auditory euphoria. It had everything I wanted in a tune: catchy, yet unique, drums, light chords, and a horn section— a seemingly essential ingredient for a hit in the indie music game. The short and sweet LP is easy on the ears but heavy on the heart.

    beirutZach Condon, the project’s front man, has admitted in numerous interviews that this album is the result of a lot trials and tribulations. Having went through marital and mental troubles, Condon retreated to a simple sound of Full-bodied piano chords paired with quiet vocals. Its low budget style must have made it easy to record as the band was in and out of the studio quickly.

    Lyrically, the album is quite spacey, yet it played to my emotion side with ease. I really enjoy the lack of hook-based songs. On my first listen, Condon really kept me guessing on the direction the tracks were taking. That feeling was epitomized in the albums final track “So Allowed”. It was the lovely bow by which Condon packaged No No No.

    Although Condon has been taking flack for a so-called “Bland Album”, I think it was anything but. This album is the end result of an emotional journey. So to the fans who expected another album like “The Rip Tide”, the last album from Beirut, I suggest that you take a look at the man behind the music. This is No No No’s Zach Condon, a man who has been in the pits and is ready for a new day.

  • Hearing Aid: Blitzen Trapper ‘All Across This Land’

    Blitzen_Trapper_AATL_Digital_Cover-copy

    At its core, Blitzen Trapper is, and always has been, a rock band. All Across This Land, released last Friday, is first and foremost a rock record, and probably their most focused effort yet. As has been the case for most of their career, the music on this latest album is heavy on the influences, some more apparent than others.

    Blitzen Trapper is able to combine these and morph them into something unique. They’re like the Frankenstein’s monster of rock bands. Taking bits and pieces from music’s past and stitching it all together to create a new whole. It is possible to pick it apart and figure out where each piece originated from, but it would be futile, and in the end would ruin the result. It’s best to accept it for what it is, and not try to attack with pitchforks and torches.

    Speaking of torches, the album swings open the gates with the bombastic barn burning title track. From there, the music slowly fades from classic rock to classic country over the tight 40-minute set. Over the course of the 10 tracks, each one slowly picks up some twang and loses a little of the rock attitude. Acoustic guitars replaces electrics, pedal steel and banjo appear, the drums mellow and soften until they eventually disappear completely in the album-closing “Across the River.” With autobiographical songs, tales of loss, and rock songs about rock music, the album hits it’s sweet spot in the gooey center. It is here that the rock and folk blend beautifully, and that is where Blitzen Trapper has always shined brightest.

    While they capture their sound very well in the studio, Blitzen Trapper is still a band best enjoyed on the stage, where their energy comes unharnessed and pushes the music to greater heights. Currently touring in support of All Across This Land, they’ll make two stops in New York State this weekend. Saturday night they’ll be at the Town Ballroom in Buffalo. Jesse Malin, who was slated to appear at the Waiting Room was just moved to this bill along with the support from that show. So it will be a 4-act evening starting around 8pm, with The Domestics and Matthew Ryan getting things started. Then Sunday night they’ll be appearing at New York City’s Bowery Ballroom with the Domestics opening at 9pm.

    [embedyt] http://www.youtube.com/watch?v=xl45V3e4SQY[/embedyt]

    Full tour dates below:

    Oct  9 Horseshoe Tavern Toronto, ON
    Oct 10 Town Ballroom Buffalo, NY
    Oct 11 Bowery Ballroom New York, NY
    Oct 13 The Sinclair Cambridge, MA
    Oct 14 Johnny Brenda’s Philadelphia, PA
    Oct 15 Black Cat Washington, DC
    Oct 16 Cat’s Cradle Carrboro, NC
    Oct 17 The Loft Atlanta, GA
    Oct 18 Exit / In Nashville, TN
    Oct 19 Saturn Birmingham, AL
    Oct 21 The Parish Austin, TX
    Oct 22 Club Dada Dallas, TX
    Oct 23 The Opolis Norman, OK
    Oct 24 Bottleneck Lawrence, KS
    Oct 26 The Bluebird Theater Denver, CO
    Oct 27 The State Room Salt Lake City, UT
    Nov  9 HiFi Music Hall Eugene, OR
    Nov 11 SOhO Restaurant and Music Club Santa Barbara, CA
    Nov 12 The Observatory San Diego, CA
    Nov 13 Teragram Ballroom Los Angeles, CA
    Nov 14 Don Quixote’s International Music Felton, CA
    Nov 15 The Independent San Francisco, CA
    Nov 16 Sweetwater Music Hall Mill Valley, CA
    Nov 17 Humboldt Brews Arcata, CA
    Nov 19 Neptune Theatre Seattle, WA
    Nov 20 The Biltmore Cabaret Vancouver, BC
    Nov 28 Revolution Hall Portland, OR

  • No Fake Pearl Tears: Nashville Newcomer Lilly Hiatt is the Real Gem

    Rather than shaking things off through catchy choruses and lip-gloss beats, Lilly Hiatt heals old wounds with poetic confession and shadowy synths on her second record, Royal Blue, released in March.

    Photography by Gregg Roth

    Hiatt, as the sole writer on the album, conjures grim daydreams of soured love and self discovery that float through 12 tracks rooted in traditional folk and alt-country, but draw on Hiatt’s favorite 80s and 90s influences (think The Pixies, the Breeders, Dinosaur Jr.). Hiatt’s sweet, soft voice sings of a starry-eyed woman scorned and she slays through the wreckage with clever lyrics, because that’s what any good woman with her musical lineage would do—she’d move on and write a song or two, as she proclaims in the title track.

    It’s Wednesday afternoon and Hiatt dials in from East Nashville; she’s down-to-earth and speaks with the same girlish honesty that’s reflected in her songs. At the moment, she and band mates—Beth Finney on lead guitar, Jake Bradley on bass, Luke Schneider on pedal steel guitar, and Jon Radford on drums—are rehearsing for a 10-date tour. Several of her east coast shows, including an October 8 stop at the Bell House in Brooklyn, are in support of Austin musician Bob Schneider who Hiatt has never shared the bill with but admires for his similar sense of songwriting humor. “Although, I’m getting tired of writing about my struggles,” she quips. But capturing a perfect Polaroid of real life just comes natural to the rising singer-songwriter whose father is iconic musician John Hiatt. “The biggest thrill of all is the initial coming up with the words; it’s some sort of relief for me,” she says. Hiatt confesses that she’s actually staring at her acoustic guitar, a hand-me-down Martin from her father that is her songwriting muse and never leaves home. “I’ll pick up my guitar and start strumming, or I’ll think about something I want to write about or think of a line that I want to put somewhere,” she says of her method. “I’ll sing something that I don’t know where it comes from; it’s decided, well, OK this is how you’re starting it clearly because I can’t stop singing that one thing, and then this helps me navigate where the rest of it goes.”

    And when it comes to laying down tracks and playing them live, Hiatt doesn’t shy away from giving her band the creative rein to guide her songs to places she never imagined, she says. Case in point: “Far Away” had a more folk element before the band’s influence evolved it into a riff-y power-pop piece. “We’re in this singer-songwriter twang-y world and there’s sometimes an unspoken feeling of things you’re not allowed to do for this kind of music, but the band finally felt the green light from me that said screw that,” she says. As for Royal Blue in particular, a progressive follow-up to 2012’s more loosely country-rooted Let Down, Hiatt says the record’s sound is a result of working with analog studio producer Adam Landry (Deer Tick, Diamond Rugs) and a natural gravitation to exploring the darker more dissonant sounds. “We’re a four-piece band of all rockers and we have a similar mentality, but we’re not rough around edges,” she says. “My drummer now totally grew up on punk rock and my guitar player is into psych-rock. When you get the right people together and let them do their own thing you hear that come out a little and I like to encourage that.”

    As for her own favorite band, Hiatt says without hesitation, Pearl Jam (she even recently guest hosted on the band’s Sirius XM radio channel). “They have been a band for so long and have been a part of my life for so long. I just have this immense admiration for them and it awakens something in me that I can’t even, it just feels like home when I hear them,” she says. “They have such a base of hardcore fans, and I know because I text with some of them; we’re giggly texting about Pearl Jam and it’s so funny because I think they’re really good to their fans and they make you feel like you’re part of something.” Hiatt is also influenced by other modern-day front women taking risks in their music like Bully’s Alicia Bognanno and Jenny Lewis. “I really look up to Jenny [Lewis]; she always takes chances and she’s so honest in her writing,” she says. “I just love her, and I freaked out for her album [Voyager]; it just brought out something different, and it was awesome.” And Hiatt plans to continue forging her way and not feeling limited in her work. “Records are records. For me, an album isn’t so much a massive representation of this is me the artist, but more of a snapshot of a period of time of what I’m doing right now because there are so many components of being a creative person. It’s hard to hone in on what you do best no matter what profession, but if you’re genuine about things and you work hard it’s going to pay off, or maybe I’m just naive,” she laughs.

    Photography by Gregg Roth

    Although she’s only three years into her professional career under Athens, Georgia-based label Normaltown records (and still held her supermarket chain day job until last year), Hiatt says she always had this “weird understanding” that she’d end up in music. “In the back of my head I knew this is what I’m going to do, but I didn’t know how because I’m shy,” she says. “I would write in my room and sing and record, but I never performed until toward the end of college… Some people can shake a tambourine and work it and that just doesn’t come natural to me; I’d literally crawl out of my skin before every show and it was excruciating, but I knew I was going to go through with it and that’s now dissipated into a more OK-let’s-go energy that is fun to channel into the show… I think it’s important to be humble.” After graduating from Denver, Hiatt returned to her Music City roots and admits she is still “building my thing” and searching for ways to tap into her creative rhythm. “Writing, or just growing as a human, is an ever-evolving thing, so the goal is to find a spot where the process is effortless,” she says, noting that she admires writers like John Prine and Guy Clark. “When I’m in vulnerable open thought is when the best stuff happens, but I’m trying to write new stuff right now, and I feel like Royal Blue went in a specific territory, a little self indulgent, which is fine, but I’ve gotten so accustomed to writing about painful things and changes and now I’m not so much in that spot. I used to wait until I’m feeling it, but you have to generate that for yourself sometimes; there’s a discipline involved, and I’m trying to look out a little more and figure out how to find the inspiration from all the positive things.” While Hiatt may ponder about getting things right, it’s clear she’s going to be just fine in this “mean machine, this lonely world,” regardless that she’s somebody’s daughter.

    Lilly Hiatt Tour Dates
    10/8 The Bell House, Brooklyn, NY*
    10/9 Ardmore Music Hall, Ardmore, PA*
    10/10 Mr. Small’s Theatre, Millvale, PA*
    10/11 Culture Center Theater, Charleston, WV
    10/17 Hill Country DC, Washington, DC
    10/22 Southgate House, Newport, KY**
    10/23 Rumba Cafe, Columbus, GA**
    10/24 Musica, Akron, OH**
    11/11 Old Town School of Music, Chicago, IL***
    *Bob Schneider Music
    **Patrick Sweany
    ***Del Barber

  • Hearing Aide: Widespread Panic ‘Street Dogs’

    Widespread Panic and their latest studio album, Street Dogs, combines the best of Panic’s southern sound – straight rockers, New Orleans-inspired funk, and choice covers – honed over nearly 30 years on the road. Recorded at Echo Mountain studios in Asheville, N.C. by longtime producer/collaborator John Keane, Street Dogs finds the band recording together for the first time, leading to a refined yet not polished album, one that commands repeat listens.

    widespread panic street dogsAlan Price’s “Sell Sell” opens the album, a driving version of the original with John Bell following the varying cadences of the tongue-tying lyrics. “Steven’s Cat,” an ode to the influential Cat Stevens, is the first Panic song written in the studio by the band and stands out as one of the strongest songs of the album, both for the thought-provoking lyrics and the blend of all six band members sound – no one outshines another.

    “Cease Fire,” a JB rap that dates back to 1999 is reborn as one of the strongest new jam vehicles of 2015, which, along with “Honky Red,” (Murray McLauchlan) is Exhibit A in the musical relationship between Father-in-Law/Son-in-Law Duane Trucks and Jimmy Herring, showcasing a guitar/drums combo rarely found with such polish. “The Poorhouse of Positive Thinking,” a classic JoJo Hermann number, uses colorful lyrics and a Professor Longhair-style yarn to frame a mild piano ride. Willie Dixon’s “Taildragger,” the third cover on Street Dogs, is tailor made for Herring’s guitar and JB’s guttural vocals, while the album wraps up with the title track, a sing along that vivdly returns the listener to the streets of New Orleans.

    Key Tracks: Steven’s Cat, Cease Fire, The Poorhouse of Positive Thinking, Honky Red

    [soundcloud url=”https://api.soundcloud.com/tracks/215858890″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

  • Hearing Aide: Holly Bowling ‘Distillation of a Dream’

    music-of-phishListening to tribute albums of your favorite band can be hit or miss, but it’s almost always an interesting experience. Holly Bowling’s Distillation of a Dream is no different. She took an assortment of Phish songs, listened to them and transcribed them by ear for solo piano. This album is different from past Phish tribute albums, such as the bluegrass or string quartet tributes, in that it consists of a single musician on a single instrument. The sound and feel are very different.

    The aural skill required to take on the task of transcribing not only studio versions of songs featured on the first disc of Distillation of a Dream, but also the complex jams in the three live songs Bowling recorded for the second disc, is commendable. She does justice to the variety of songs she chose for the album. While many fans might already be familiar with her rendition of the “Tahoe Tweezer,” it’s worth giving a listen to the other songs. The album starts off a bit rough with “My Friend, My Friend,” but improves immediately with “The Horse > Silent in the Morning.” Some of the songs seemed to be odd choices for solo piano, such as “Wingsuit” or “A Song I Heard the Ocean Sing”. But those turned out to be some of best songs on the album. There are moments when some of the songs seem unrehearsed. There are moments with small imperfections. Some of these imperfections, like pauses that don’t fit with the song, detract from the music, while others, like slight variations in the tempo, bring that organic feeling of Phish.

    Overall, Distillation of a Dream is a solid, creative tribute to Phish. The album reflects the difference between studio Phish as heard on disc one, and live Phish as heard on disc two. However, it is almost as though the first disc feels like a warmup to the more complex second disc. Bowling’s musicality, experience and talent are in full display on this album. The creativity and effort put into the re-creation of these Phish songs and jams make for a fun and interesting listen.

    Holly Bowling will be making a few stops in the northeast on a short fall tour. She will perform at The Massry Center for the Arts at The College of Saint Rose on Oct. 28, and in nearby south Burlington, VT at Higher Ground supporting Pink Talking Fish on Oct. 29. She will also be performing at Rockwood Music Hall Stage 3 in New York City on Nov. 8.

    Tickets for both shows are still available. You can also follow her on Facebook, Twitter, Instagram, and YouTube.

    Key Tracks: Harry Hood, Wingsuit, Fly Famous Mockingbird, all of disc two

    [embedyt]http://www.youtube.com/watch?v=b_5l6zMrcD0[/embedyt]

  • Hearing Aide: Turkuaz ‘Digitonium’

    NEWTURK_highres2The nine piece funk phenomenon known as Turkuaz are releasing a new studio album Digitonium on Oct 2. The 23 track album is a mature testament to the bands growing sound that continues to push the boundaries of funk with heavy ’80s influences. The album is full of instrumental segues of experimental melodies that set the stage for evolutionary funk tunes with classic, raw Turkuaz energy. Digitonium is built upon layers of exploratory themes, characters and repetitive lyrics that get the listener to pause, rewind and think outside the album. It’s the future of retro pop funk.

    While the entire album is thoroughly enjoyable, some songs are sure to be stand out favorites. “Nightswimming” has that familiar Turkuaz pop rhythm, blaring horn build ups and catchy chorus that is sure to make it a big hit when performed live. “Percy Thrills The Moondog” explodes out of the speakers in true Turkuaz nature of slamming guitar riffs and crashing cymbals, complete with growling, barking and howling.“Doktor Jazz” has groovy bass plucking with rain fall synth melody and haunting, echoing vocals that give it a mad scientist toe tapping vibe. One track with possibly the heaviest 80s sound is “European Festivity Nightmare” with dark lyrics set to an upbeat digitalized street rhythm that sends the heart racing like Talking Head’s “Psycho Killer”. Digitonium is the ideal listen for any pre-party or when you are just ready to share in the groove.

    In celebration of their new album, Turkuaz will perform a two night run at Brooklyn Bowl in their hometown of NYC on Sept. 29 with Polyrhythmics and Yo Mama’s Big Fat Booty Band on the 30th with the PitchBlak Brass Band on both nights. You can pick up a copy of Digitonium at their merch table at any of their many fall shows across the country or download online via iTunes on Oct. 2.

    Key Tracks: Nightswimming , Percy Thrills The Moondog, Doktor Jazz

    Fall Tour Dates:

    09/29 – Brooklyn, NY – Brooklyn Bowl**+
    09/30 – Brooklyn, NY – Brooklyn Bowl*+
    10/01 – Boston, MA – Paradise Rock Club*
    10/02 – Ardmore, PA – Ardmore Music Hall*
    10/08 – Phoenix, AZ – Last Exit Live
    10/09 – Joshua Tree, CA – Joshua Tree Festival
    10/10 – Flagstaff, AZ – Orpheum Theatre
    10/11 – Albuquerque, NM – Marble Brewery
    10/14 – Kansas City, MO – Knuckleheads***
    10/15 – Ozark, AR – Phases of The Moon
    10/16 – Ozark, AR – Phases of The Moon
    10/17 – Denver, CO – Cervantes Masterpiece Ballroom****
    10/20 – Missoula, MT – Stage 112
    10/21 – Moscow, ID – John’s Alley Tavern****
    10/22 – Boise, ID – The Reef****
    10/24 – Placerville, CA – Hangtown Halloween Ball
    10/25 – Placerville, CA – Hangtown Halloween Ball
    10/28 – Bend, OR – Domino Room****
    10/29 – Seattle, WA – Tractor Tavern****
    10/30 – Portland, OR – Wonder Ballroom****
    10/31 – Eugene, OR – HiFi Music Hall****
    11/04 – Fort Worth, TX – The Live Oak Music Hall
    11/05 – Austin, TX – Spider House Ballroom
    11/06 – Houston, TX – Last Concert Cafe
    11/07 – New Orleans, LA – The Parish at H.O.B.
    11/10 – Birmingham, AL – Zydeco
    11/11 – Atlanta, GA – Aisle 5
    11/12 – Charleston, SC – Charleston Pour House&
    11/13 – Jacksonville Beach, FL – Freebird Live&
    11/14 – Boca Raton, FL – Funky Biscuit&
    11/15 – Tampa, FL – Crowbar Live&
    11/18 – Charlotte, NC – The Rabbit Hole&
    11/19 – Raleigh, NC – The Pour House&
    11/20 – Richmond, VA – The Broadberry
    11/21 – Baltimore, MD – Baltimore Soundstage

    * with Yo Mama’s Big Fat Booty Band
    ** with Polyrhythmics
    *** with Roxy Roca
    **** with The Quick & Easy Boys
    & with The Fritz
    + with PitchBlak Brass Band

  • Hearing Aide: Ryan Adams’ 1989

    Last fall, I bumbled about Meeker Avenue listening to Ryan Adams’ self-titled album until black plastic garbage bags began to line the streets, and I began to feel hectored by the bar-corner security cameras on my side of  McCarren Park. I sat on my stoop under the BQE– entombed in the crumbs of a stale relationship, a total of -$2 in my bank account– singing along to “My Wrecking Ball” until tears sluiced down my cheeks.  Lonely nights stitched together into a seamless tapestry of nightmares, the smoke from my cigarette billowing into dawns like ghosts. Two weeks of this rigmarole and both Ryan and I finally pooled together our emotional claustrophobia, swore off our belabored relationships, and promised to let go — together.

    Following the good into the gone came Taylor Swift‘s 1989.  A month later. Taylor wasn’t as humble anymore. She was past the youthful sincerity of Fearless and bolder than Red. The righteousness of nothing-lasts-forever pop catapulted me out of my lonely bed. And I began to struggle through the nights with someone new. She laughed off the pain Ryan Adams formerly ached after. 1989 encapsulated early-20s-nonchalance: It was the sound of showing up to work in ripped tights, with crumpled wristbands from the night before, the sound of digging through your pockets in search of loose change to pay for beer, the “fuck it” shrug when the quarters didn’t amount to enough. But 1989 was also the promise of a new beginning (“the best people in life are free”). She declared it the age of adulterated innocence: we were the New Romantics and heartbreak, our national anthem. The blinding light in the sunrise of “Shadows” turned into the pink sunset of “Let Go” and finally helped us see again in “Welcome to New York”– these two albums routed me back to myself.

    Juxtaposing these sounds together on a cover album re-opens the same memory they helped weave shut in the first place. Though Adams’ rendition of “Welcome to New York” isn’t quite “My Blue Manhattan”, it strips the song of its slick Swedish appeal, drilling in its place Springsteen-inspired vocals. It surprises me that he didn’t notice it wasn’t a very workers-of-the-world-unite song to begin with–New York isn’t ever really waiting for anyone–but the casual conviction with which he says “it’s been waiting for you” makes me want to believe him. His preoccupation with the Boss persists in his mournful vision of “Shake It Off”, where a redundant synth shows up abruptly in the second half, desperately trying to impersonate the xylophone in Candy’s Room. Ryan seems to miss the point: I want to hear melancholy in “Shake It Off” as much as I want to hear an orchestral horn section in “My Wrecking Ball.” The inclusivity of “Love Is Hell” and the grandeur of Max Martin hooks aren’t mutually exclusive but removing lines like “Dancing on my own/ I’ll make the moves as I go” from the context of heavy-duty pop makes them sound like they were edited out of the Replacements’ “Achin’ to Be.”

    After sharing such intimate experiences with Ryan Adams’ discography over the past years, I imagined his monsters would resonate with me more than Swift’s but the static and melodically sparse “Out of the Woods” fails to register. He clutches on to the same five notes that linger for the next six minutes. Hushed vocals over simple guitar strumming don’t touch me as much as Taylor’s vocal reach does during the bridge when she sings “when the lights came up you were looking at me”.

    “This Love” is doused in an aggrandized churchy reverb and a piano arrangement reminiscent of a self-indulgent Badlands. The original “Love” had a gradual build up that aptly leveled the nervousness and anxiety experienced after a lingering traumatic break up. The bassline supported the tender lyrics with measured dignity, giving ample time and space to superimpose your own story on the track. Adam’s interpretation has less heart in it, and reverb simply doesn’t compare to the integrity of several layers of treated piano and harmony tracks.

    Similarly, his take on “Bad Blood” reduces the intention of a hard-hitting eye-for-an-eye song to a pathetic dismissal. His approach takes socially-acceptable angst and makes it too real, too sad, all too soon. “Blank Space,” “I Know Places”, and “Wildest Dreams”, some of the strongest tracks on the original, lack imagination and are unmemorable in his cover album. “Clean” sounds a lot like his earlier “Dancing All Night,” only his 4/4 time signature leaves you wanting something wilder.

    The actual songwriting behind “All You Had to Do Was Stay” and “Style” is overshadowed by drums and bass. Rough and breathy vocals on both tracks go to show that this isn’t more than a compulsive inch.

    Despite all that, the album holds a few redeeming moments, including “Wish You Would” which, for once, stays true to the original melody. The bare “How You Get the Girl” less hurriedly sells the song from a male perspective. I can see him showing up at the door shaking from the rain.

    Before this album, I didn’t think it was within my emotional capacity to dislike anything Ryan ever recorded. Here’s where I admit I was wrong. This album requires fire, time, and a lot more love. That being said, I can’t really hold it against the guy for following through with an impromptu week-long Swift-inspired PaxAm project. Trust me, if my drunken impulses amassed me as much of an audience, I would’ve been doing the same thing all along. Meanwhile, you will find me singing significantly worse versions of both Taylor Swift and Ryan Adams songs at karaoke.

    Listen HERE.

  • Hearing Aide: Johnny Cummings ‘Radiate’

    Johnny Cummings (JC) is a singer/songwriter and multi-instrumentalist based in Rochester. You may know him from bands like Jet Black Berries, My Plastic Sun and cover-monsters Something Else, here he takes on the task of being a solo artist with Radiate. It reflects the depth of his contributions to the aforementioned bands and stretches the definition of what pop or power pop can be. While waiting for the release of Radiate, it was necessary to quell my exuberance over it after having the material for a few months. It’ll be good to revisit and expound on it.

    Johnny CummingsCummings is a modern poet with the musical chops of a prodigy and the vocal range of a choir. His songwriting sweeps across a range of styles and influences, culminating in a singular voice that can bring exuberance and tears in one breath. Really. Instrumental contributions by Cummings include Piano, Keyboards, Organ, Guitar, Ukulele and String Arrangements on top of his vocals. He has listed a co-credit for all but one of the songs on Radiate, I’ll credit the co-writers song by song. Also contributing Musically are Michael Lasaponara: Drums/Percussion, Sam Snyder: Lead/Rhythm Guitar, John Viavattine: Bass, Mike Klock: Bass on track nine, John Delmonico: Cello on tracks three/eight, Mike Sapienza: Sax and Dave Sapine: Trumpet, Horns on track two. Then Ryan Cummings, Liam Enright, Elvio Fernandes, Becca Nyerges, Rob Smith and Jessica Wojcinski on Background Vocals. Radiate was Produced, Engineered and Mixed by Sam Polizzi and Mastered by Brad Blackwood at Euphonic Studios. Art Direction and Layout by Mike James with Cover Photography by Andy Buscemi.

    The opener, “Missing Pieces” (JC/Wiktorski/Polizzi) is an impressive starter, it’s uplifting with its big choral backing vocals in the choruses, positive message and brilliant read. It’s almost as if Cummings is checking off a “to-do” list of styles beginning here. If you aren’t swept away at the first chorus, it isn’t loud enough. “Chemical Love” (JC/Netsky) has a familiar melody faintly, “She’s Come Undone” maybe, regardless, he takes a big swing with the horns pushing along the sharp rhythm section. The samba feel relates right to the topic, lyrically he takes the direct approach and you can almost envision the movie scene, he’s visual that way. JC takes to the piano on “Imperfectly Perfect” (JC/Vainberg) and gives one of his strengths, a masterful love song that just reaches you in the chest. The slowly built background keys and voices crescendo to a whispered end, the rich quality of Delmonico’s cello combined with Cummings’ authentic vocalization make the song reflective of its title, without imperfection.

    The ukulele makes its first appearance in “My Girl (Autumn Rose)” (JC), while it leaves a Hawaiian taste, the song is a straight-up beach-blanket rocker, in black and white. It has a rockabilly jump and a love crazed jive. His strength of conviction doesn’t wave and he surely isn’t afraid to express conviction.

    Johnny Cummings“All Roads Lead To Home” (JC/Fink) may be the overall best example of Polizzi’s depth of mix and production, there is so much going on as the song goes from soft to orchestral by the end. Johnny’s vocal performance is one of my favorites here as he stretches his range comfortably in another radio-friendly tome to faith and place. From the first note of “Rush” (JC/Fink) you realize you’re heading someplace different musically, it’s bigger, deeper and stronger. The story more aggressive and wanting, the layering of vocals more dramatic and towering. There’s a modern rock hook with a electronic base, alternative licks and a Phil Collinsesque drum track. The listener can feel how there’s an associative nature to some of the pieces, that happens when the writer is speaking truth.

    “Best Of Days” (JC/Fink) is a power-pop crusher, it finds the most in every moment and lesson. From the first chorus on Michael Lasaponara has a gleaming stage with big guitars, keys and voice being paced by his big beat. He jumps all over it in the outro and by then it’s like a train. It’s reflective, it’s positive, it’s pragmatic and still joyous. Back to the piano for the intro of ‘Halo’ (JC/Fink), and JC is taking you to church. Elements are introduced gently, but that’s the hook, there’s a fateful hymn voiced triumphantly. It suddenly becomes evident that rebirth is a part of loss, the cello and slide exhibiting how each can trigger a feeling or depth thereof. The choir of vocals takes us home. It’s majestic and just as soon as it peaks, it softly and thoughtfully closes. “Beautiful Low” (JC/Fink) is JC’s absolute sweet spot, smart modern-rock with a twist in the brilliantly simple lyric. It’s anthemic, it’s a call to arms and a voice of experience. Cummings has a masters degree in pop and this one drives on the bottom end, the hook is endless and the melody will give you an ear worm for days. Promise. The closer, “Radiate” (JC/Fink) is ready-for-video treatment, it has all of the pieces, a soulful vocal, perfect structure, the rises and falls build with each change. It takes a victorious stance and assumes the last chapter is relatable on multiple levels, it is, or at least I read it that way. This is true as part of his storytelling throughout Radiate, the writing is thoughtful and relatable, the musicianship is top shelf and the production is brilliant.

    Cummings’ masterful wordsmanship and musical dexterity combine to make a literal hit machine! His songs are voiced with such clarity that his deftly oblique lyrics are immediately relatable to all, impossible for many writers, seemingly second nature to him, astonishing to a careful ear. I’ve experienced very few songwriters with the depth of talent he exhibits, anywhere, anytime, anyone. Besides, who the hell else is going to get you to dance with a ukulele in his hands?

    Key Tracks: Imperfectly Perfect, Beautiful Low, Rush

    You can buy this work on iTunes, then check out more of his musical adventures on Facebook, Jet Black Berries and My Plastic Sun band sites.