NYS Music 20​15

Tag: New Album

  • Hearing Aide: Gary Clark Jr. “The Story of Sonny Boy Slim”

    In his recently released sophomore studio album, The Story of Sonny Boy Slim, Texas blues man Gary Clark, Jr. shows the world the true extent of his versatility. With a mix of blues, funk, and soul, Clark proves, more than we’ve seen from him so far, his ability to produce a multifaceted sound.

    The Story of Sonny Boy SlimThe album’s second single, “Grinder,” prominently features screaming guitar solos wrought with a Hendrix influence. On the other hand, “Star” and “Cold Blooded” dial back on the licks and show off a funk-soul combo reminiscent of Stevie Wonder and Curtis Mayfield. Clark brings “Church” in a direction we’ve had yet to see from him: Clark, his guitar, and his harmonica combine to create a beautifully written acoustic track with just the right mix of gospel and soul.

    Clark has always shown a natural ability to mix modern soul themes in with more traditional blues themes, but perfects this ability in The Story of Sonny Boy Slim. For example, “Wings” and “Can’t Sleep” contain lyrics appealing to the listener interested in a more modern “party” sound, a la John Legend, but also incorporate classic funk and blues guitar.

    The Story of Sonny Boy Slim is an album that can be enjoyed by young and old due to its masterful fusion of classic blues with neo-soul. In addition to the fact that Clark produced the album, true music lovers can appreciate that he also played many of the instruments. As the album is surely his best studio work so far, fans can look forward to a very bright future for Gary Clark, Jr.

    Key Tracks: Grinder, Church, Cold Blooded

  • Hearing Aide: Alison and Zoë ‘Home Is…’

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    Sister songwriters Alison and Zoë have assembled a handful of heartfelt folk songs for their debut Ep Home Is… The five song collection released Aug. 19, exudes a nostalgic sentimentality fit to be wrapped in brown paper and tenderly tied together with twine. Their music is less about perfecting instrumentation or inventing a new sound, instead focusing on shaping a familiarity and sharing honest, human stories to connect with listeners. The album was recorded, mixed, & mastered by Jeremy Johnson at Subcat Studios. Ryan B. Curtis cultivated the design and layout of the album cover and CD art, using a photo provided by Elisha Stasko.

    Alison and Zoë’s songs act as melodic vehicles, taking the listener on a journey of relatable experience. As is often the case with traditional folk music, various elemental strands are weaved into their lyrics, rooted in the sisters’ adventures or borrowed from other folk songs gathered during their travels through Ireland and Great Britain.  The album is an audible patchwork quilt of memories.

    “Following That Star” showcases Alison’s rich, sturdy voice with support from Zoë’s delicate harmonizations, accompanied by simple guitar picking.  Alison sings: “Our father’s mother said one day she’d get discovered/ And you know they say she sang just like me/ But she crossed to the other side and so she passed it down the line/ Now generations live vicariously through me.” The song centers on the theme of following a star, where the star could be a metaphor for a life path or the intuition to help guide someone down a particular life path. This metaphor would ring true for Alison and Zoë, whose song writing has become an intimately important foothold grounding them to their own individual yet entwined life paths.

    The title track “Home Is…” begins with a straightforward guitar rhythm before both sisters chime in. They harmonize about singing together on a train, adding a meta layer to a song seeking to  interpret the concept of home. Their lyrics suggest home not as a structural entity, but rather a feeling that can manifest through engaging with others, even in faraway landscapes. “This Song I Wrote” offers the notion of music as a healing mechanism. Alison and Zoë sing in unison: “I saved my marriage with this song I wrote/ I plucked the words out of my chest and I said darlin’ that’s the best I can do for you/ Then we got drunk on honesty and we fell back towards each other/ Remembering all the ways we fell in love in the first place.” The tender lyrics dance through a spectrum of emotions, intimately touching on feelings of love and heartache so accessibly that any listener can identify in some way.

    Key Tracks: Following That Star, Home Is…, This Song I Wrote

  • Hearing Aide: Yankee Blood ‘Honey’

    a1637777148_16Nashville-based indie-pop trio Yankee Blood released their debut EP last month titled Honey. The Yankees, as they sometimes call themselves, are comprised of Kelly Ruth (singer/bassist), Adam Verone (drummer) and James Karp (guitarist). Seiji Itaru Inouye provides additional guitars and Juliana Richer Daily supplies vocal harmonies on the album. Honey was produced, mixed and engineered by David Brubaker at Studio 215, and mastered by Mark Trewella of Full Circle Mastering.

    Airy vocals and ethereal harmonizations supported by bluesy, mellow guitar and drums, open the first song, “Sioux City.” Ruth poses an existential quandary floating through the minds of younger generations questioning their role in society. This notion is drawn out with the lyrics, “When you were 23 you said that you wanted to move to Sioux City, where everything’s pretty/ You said Ma don’t you miss me, I’ve gone to where I can see the sunset clearly/And everyone’s friendly to the new girl in town.” The song alludes to that idealistic mentality of many fledgling twenty-somethings seeking to explore the world and embark on adventure. Like viscous honey oozing down a smooth surface, the lyrics postulate, “Well you’ve always been chasing that dream of the beautiful scenes you’d clip out of magazines.”

    “Reckless” offers eighties-inspired synth pulsating like lazy ripples, chased by Ruth’s femme power lyrics. She expresses, “I’ve been told I need a man to put me in my place/Every time one comes around he can’t keep with my pace/God made me the reckless kind.” Yet the next song, “Beekeeper,” with simple jazzy guitar evoking a daydream quality, expresses a desire for companionship through the lyrics, “Like bees to the queen, like tea to honey/I want someone to love.” Put together these songs personify a fiercely independent woman hard pressed to find a mate well matched for her fiery spirit. Honey will resonate with those who have been faced with the uncertainties of love and finding purpose.

    Key Tracks: Sioux City, Reckless, Beekeeper

  • Hearing Aide: Vaporeyes ‘Swell’

    Swell

    Syracuse experimental group Vaporeyes released their fifth studio album titled Swell on November 11, offering listeners a reservoir of jazz-infused jams to meditatively contemplate.

    Vaporeyes is composed of Jonas Reddy-Nicholson (Warp Drive Operator), Shannon Zory (Groovemaster), Sean “Chid Law” Cadley (Keeper of the Beats) and Jamie “Jyms” Tynan (Facemelter). Two songs feature Stephanie Donato on saxophone. Swell was recorded and mastered by William Nicholson at JoBop Records in Syracuse. Released in combination with the new album is a live recording titled An Evening with Vaporeyes from their July 8, 2015, show at Funk ‘N’ Waffles Downtown. Included with the recording are extra downloads displaying video footage from a September 5 performance at the same venue shot by Jason Vincent.

    Swell unfurls the opening song, “Precipice,” with a short spoken word quandary uttered by album cover artist Yegor Mikushkin. The final line feeds into the dreamlike opening of “Precipice,” postulating, “This tense suspense has driven me insane/This glance, this trance, must all just be a dream.” The tense suspense of the first half of the song mirrors that sensation some feel in anticipation of large family gatherings before flutes of champagne and goblets of wine douse the initial discomfort in an avalanche of warm fuzzies. Midway through, “Precipice” serenely eases into a savory instrumental jazz piece. It’s ambient qualities could melt into the background of an indulgent holiday party as drunken family members adorned in matching knit sweaters lounge lazily around a fire guzzling mulled wine and gorging on an array of delicate cheeses.

    If “Precipice” is the anthem for that all-too-familiar holiday party progression, then “Exo Robot” could thematically epitomize the angsty mission-driven mischievousness of the dreaded holiday shopping season. It calls to mind scenes similar to Arnold Schwarzenegger’s bloodthirsty hunt to locate a Turbo Man action figure for his beloved son in the 1996 thriller, Jingle All the Way.

    “Spirutine’s” mid-album playfulness embodies that happy-go-lucky sense of wonder coursing through young spirits on Christmas morning. “Retrograde” imparts a cathartic effect, winding down the sequence of energetic jams with a melody fit to doze off under the comfort of cozy blankets, sheltered from winter’s chill.

    Key Tracks: Precipice, Spirutine, Retrograde

  • Hearing Aide: ‘Damn Country Music’

    Tim McGraw Damn Country Music - standard coverWhat could possibly make a Friday better?  Well, the official release of Tim McGraw‘s 14th studio album, Damn Country Music of course.  Just in time for the upcoming holiday season, Big Machine Records released the highly anticipated album this week. The record was produced by McGraw and trusted collaborator Byron Gallimore, and proves to be yet another album chock full of hits.

    Tim shares the opening number with his first-born daughter, Gracie, in an upbeat country tune with a Celtic vibe of a tin whistle in the background; outstanding.  Gracie’s sultry undertones match her father’s voice perfectly, and the tiny glimpse into their relationship at the end is super endearing.  He also kicks up some dust with friends and co-collaborators Big & Rich on what’s sure to be a hit for them, “California”.

    To McGraw, the album’s title track is reflective of the entire record’s tone and his musical journey thus far. “When I recorded Damn Country Music, it was one of those electric moments. It speaks to a passion and being at a crossroads in your life when you make that decision to pursue it knowing you might pay a heavy price,” says McGraw.

    Damn Country Music’s lead single, “Top Of The World,” has been rocketing up the country radio charts since its out-of-this-world debut in August. The song’s widely-viewed lyric video features an intimate look into McGraw’s life as he surveys various personal photos and memories.

    The release of Damn Country Music will cap off an exceptional year for McGraw, which began with a critically acclaimed & trending performance of “I’m Not Gonna Miss You” from Glen Campbell: I’ll Be Me at the 87th Academy Awards on February 22. In April, McGraw was included on TIME 100 – Time Magazine’s list of the 100 most influential people – and narrated the ESPN Films & SEC Network documentary Shaq & Dale, which detailed the enduring relationship between basketball icon Shaquille O’Neal and his former Louisiana State University coach Dale Brown.

    Continuing to bolster his film career, McGraw starred in Disney’s Tomorrowland in May before kicking off his wildly successful Shotgun Rider tour in June. The tour thrilled thousands of fans and awarded mortgage-free homes to veterans through McGraw’s partnership with Operation Homefront & Chase in more than 30 cities throughout the summer. The tour concluded on September 19 in Irvine, CA to a sold out crowd.

    Photo by Danny Clinch
    Photo by Danny Clinch

    Not sure how he fit in recording an album of this caliber, but we are sure glad he did.

    Damn Country Music Standard Tracklisting:
    • Here Tonight (ft. Gracie McGraw) – Perfect opening song featuring his first-born daughter Gracie. His smooth country sound blends perfectly with her warm bold undertones and gives a depth to the song.
    • Losin’ You – This is an amazingly well written song. Through words, Tim paints the backdrop and tells a story of lost love. This is a great country song.
    • How I’ll Always Be – This snappy upbeat diddy describes the simple pleasures in life of a man who knows who he is and what he finds important. ” I’ll always be a fan of old stray dogs and guitars playin’; One room churches, back road walks, and front porch swingin’; Sunset skies and bonfire nights, I love the simple things; That’s how I’ll always be”.  Think that says it all.  I absolutely loved the percussion and the great guitar riff within this number.
    • Damn Country Music – Tim sings of the passion surrounding the life a musician. The constant dedication it takes is all rolled into a ballad of the love affair he has with country music and the ups and downs in the career as such. This is a perfect reflection of the cannon ball jump musicians make to follow their dreams.
    • Love Runs – Love walks you to….and the lyrics within bring definition of what is the essence of a relationship.  But it’s the love runs through your veins that is so strong and confirms the love you know, will be a forever love. Loved it. Number one hit for sure.
    • What You’re Lookin’ For – This ballad tells of an admission and realization. This mellow tune is an acknowledgement of a love that just isn’t right. We have all been there, and Tim’s ability to deliver a sad song of love, just makes you weak in your knees.
    • Top Of The World –  The first release on the album came this past August and didn’t take but a minute to climb its way into the charts and our hearts.  Would say that Tim McGraw definitely sits on Top of the World.
    • Don’t Make Me Feel At Home – This number has a very old-fashioned country flavor of the George Jones era. Loved it. A must listen track.
    • Want You Back –  WOW! All I can say is, you can have me back. Definite hit. (drops mic)
    • California (with Big & Rich) –  This collaboration with Big & Rich rocks your country boots off. It’s one of those songs you hear, and you immediately pull your beau out to the dance floor. Fun and upbeat. Loved it.
    • Humble and Kind – My hands down favorite on the album. It’s a conversation; one that brings me back to so many I’ve had throughout the years with my momma, my grandma, and my pop pop as they teach me how to be the best person I can be in life. Truly a number that everyone will relate to and love as well. So beautiful. The arrangement on this number must get a shout out as well as it is spectacular. Can’t wait to see this one live!

    For those that purchase the Deluxe Edition, you will be treated to the following extra tracks as well.
    Damn Country Music Bonus Tracks (Deluxe Edition):
    • Everybody’s Lookin’
    • Kiss A Girl
    • Country And Western

    This album has a great energy to it.  It is a perfect mix of both upbeat and ballad; every song is a hit; and every song has substance.  With some of the most talented writers in the business working with Tim, their words are made into stories and Tim delivers them magically and perfectly.  A lot of scuttlebutt has been made in the industry claiming that commercialism has taken over and strayed country music from its roots. This album reflects a bit of those roots within, and gives the listener a taste of what country music is all about; the stories of life, love, and loss. I predict that this album will one of Tim’s biggest selling albums. I give it a definite two thumbs up.  I believe it’s substance was a compilation of all that Tim’s endured over the years on the road and in the business.  Tim’s was able to deliver an honest and heartwarming album, while standing tall and true is a direct reflection to his character and talent.  A must purchase.  I know I will.

    Key Tracks: Want You Back, Humble and Kind, California

  • Hearing Aide: Lettuce ‘Crush’

    It’s only been three years since we last heard an official release from the funky innovators known as Lettuce. And while that might feel like an eternity, the coming of Crush (Expected Nov. 06, 2015) marks the quickest turnaround between albums in the band’s history. It can likely be chalked up to the extensive time spent together on the road, sparking tons of raw material for the band to work with.

    lettuce crushWith eighteen tracks and a musical journey covered throughout the album, it’s tough to touch on just a few highlights. Damn near every song has at least one riff or section that can grab your ear and dial you in to a fat groove, and that’s being modest. Either way, they’re back with the most aggressive, ambitious, and funkiest album to date; Lettuce all be thankful.

    Crush starts off with the sounding of the Shady Horns, announcing “The Force” and setting the tone for the rest of the album. The band’s play on words with Lettuce Crush (Let Us Crush) is felt from the start with a tight pocket and hypnotically heavy riffs. An immediate evolution is heard on the first track as trumpeter Benny Bloom and saxophonist Ryan Zoidis’ effect-laden horns blaze the way. They’ve certainly been toying more in the live setting with effects, but it’s great to hear it on an album. Zoidis’ sax solo on “The Force” provides some brass foreshadowing for the rest of the album. From start to finish though, this song serves as an anthem to announce the bands triumphant return!

    If you’ve seen the band out on the road in the past year or so, there are a good number of songs that will sound familiar. The band used that time together to road test and evolve their ideas. That being said, there were many on Crush that haven’t been played at all, or at least minimally, and are just getting turned loose now. The deeply introspective “Phyllis” was from the road tested bucket. While simple and laid back in nature, Lettuce somehow captures that live magic and is one of the early highlights. The song allows the listener to catch their breath after a typical Lettuce onslaught of fast-paced funk that starts things off. Going back to back with “Phyllis” is the light-hearted Nigel Hall led “Sounds Like a Party.” As with other Nigel songs from previous albums, they nail another classic sing-along and will have you piping in by the time the second chorus comes around.

    As the album blazes on, there’s a noticeable sense of diversity that hasn’t been explored to this depth on previous Lettuce albums. While the band has always had their hand in funk, hip hop, jazz, and soul, this album seems to dive in and explore other dimensions to a deeper degree. “Trillogy” specifically is one of the standouts on the album, exploring a hip hop sound like they never have before. It’s  also one of the heaviest songs with the first two phases of the song building before taking a dip into the heaviest groove on the album. With innovation like this, there’s a hope that we might one day see an actual MC make a debut on a Lettuce track as a guest. The band has deep connections and fans would fully support an appearance from Talib Kweli, a member of the Wu, or another gifted rapper they’ve crossed paths with.

    lettuce crushFollowing “Trillogy” is the dynamic and fluid “Pocket Change.” This could be a play on words as the band places a heavy focus on the pocket in terms of rhythm and this certainly changes its rapid pace throughout. This song harkens back to some Soulive-jazz influences and reminiscent of the rhythmically intense song “Nyack” from their 2002 release Outta Here. The stark difference between “Trillogy” and “Pocket Change” is something that Lettuce is not only capable of, but one of their strengths. Solos on this include a Zoidis/Deitch syncopated back and forth battle early on that surely spurred the subsequent appearances of Eric Krasno’s guitar in response. Neal Evans and the Shady Horns interplay throughout is an interesting conversation to listen to as well. With so many layers, its easy to say that you should never get bored with this band.

    If you’ve never had the opportunity to dive into some Lettuce head first, now might be a better time than ever. Crush is the convergence of road tested and polished material, musical exploration, deep pockets of groove, and a band that is simply on top of their game. With a discography full of hits, this album somehow stands above them all. For the non-musician, the band has endless groove with an allegiance to the pocket and a keen ability to get your foot tapping. For the musician, the band has all sorts of rhythmic and melodic folds to listen for that can keep you eating for days. This album is no different from any of their previous records in that manner, but so different in every other sense. Lettuce all be thankful that they’re back and ready to Crush.

    Key Tracks: Phyllis, Trillogy, Pocket Change

    The album is set to be released this Friday, November 6. If you’d like to pre-order Crush, click here. There are a ton of limited edition bundles and every order comes with instant downloads of “Phyllis” and “Elephant Walk.”

  • Punch Brothers to Release ‘The Wireless’ EP

    The Punch Brothers have announced that a five-song EP, The Wireless, will be released on Friday, Nov. 20 on Nonesuch Records.

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    From their announcement on Facebook:

    You may recognize some of these songs from our live shows or from the bonus fourth side of the double vinyl release of The Phosphorescent Blues. Much like Ahoy! with Who’s Feeling Young Now?, we recorded more than we could include on The Phosphorescent Blues so we’re glad to be able to share the rest of these with you all.

    The song “Sleek White Baby” includes lyrics written by the Punch Brothers’ touring companion Gabriel Kahane. It also features a vocal cameo by actor/comedian Ed Helms.

    The Wireless is available for pre-order.

    The Punch Brothers will be on tour in December with several stops planned in New York. They will be at the State Theatre in Ithaca on Dec. 6, Troy Savings Bank Music Hall on Dec. 10, The Capitol Theatre in Port Chester on Dec. 12 and Bearsville Theater on Dec. 13. Tickets are still available for those shows.

    The Punch Brothers The Wireless track listing is listed below:

    1. In Wonder
    2. The Hops of Guldenberg
    3. Sleek White Baby
    4. No More. Yet
    5. Clementine

  • Hearing Aide: Vulfpeck ‘Thrill of the Arts’

    Thrill of the Arts, the debut full-length release from Vulfpeck is an entertaining score of influences —Motown, superfly funk, disco ballads, ’80s easy listening, other music your parents probably owned—and classically trained elements that mix confidently with technetronic effects. The result isn’t nostalgic or avant-garde, but geeky cool in its carefully composed yet vibrant sound; it’s revenge-of-the-nerds with soul-train swagger.

    vulfpeck thrill of the artsThe four-man rhythm section formed at the University of Michigan—Jack Stratton (keyboards/drums/guitar), Theo Katzman (guitar/drums/vocals), Woody Goss (keyboards) and Joe Dart (bass)—self-produced the album through a 59-day Kickstarter campaign and open it with the appropriately named “Welcome to Vulf Records,” an upbeat symphonic theme song that signals it’s time to tune in, brassy saxophone solos and all.

    Over the following half-hour, the band grooves through a variety show of offbeat instrumentals, starring guests like rhythm-and-blues vocalist Antwaun Stanley, who sings about the self-aware, TED-talk giving “Funky Duck,” and guitarist Blake Mills in the spaghetti Western rockabilly number “Rango II” that moseys on until mid-trail distortion time warps listeners back to the future. Mushy Krongold (Stratton’s alter ego) brings the 10-tracks to a close with “Guided Smile Meditation,” a spoken-word bit that uses outer-spacey synths to help visualize manning “mission control” and sends TOTA off with a “sense of smile spreading through the eyes.”

    vulfpeck thrill of the artsMost songs remain under the five-minute mark, but existing live footage reveals that these guys aren’t afraid to improvise and can deliver unexpected transitions with impressive precision. And they’ve also been known to cover a classic song or two like The Band’s “Up On Cripple Creek” and Stevie Wonder’s “Boogie on Reggae Woman” and will occasionally breakdown their instrumental configurations for the audience before jamming out. Vulf has yet to announce a tour schedule in support of the album; however, the band is booked for two nights at the Brooklyn Bowl on Nov. 21 and 23 and special guests are soon to be announced.

    Vulfpeck‘s premiere feature compilation is dressed to thrill and proves that independent musicians in the 21st century can provide much more than studio session backtracks.

    Key Tracks: “Funky Duck,” “Rango II,” and “Christmas in L.A.”

  • Hearing Aide: Trey Anastasio’s ‘Paper Wheels’

    Paper Wheels is Trey Anastasio’s tenth solo album. The Phish frontman’s side project is an outlet for looser, more introspective material. The Trey Anastasio Band, TAB for short, is made up of seven members: drummer Russ Lawton, bassist Tony Markellis, keyboardist Ray Paczkowski, and a three-piece horn section with Jennifer Hartswick on trumpet, Natalie Cressman on trombone and James Casey on saxophone.

    Paper WheelsMost of the material on this album contemplates the passage of time and one’s place in life. The album’s second track, “The Song,” distills this down succintly, with a refrain of “All that’s left is the song.”

    Mixed in with the bright and melancholy pop, “Never” leaves space at the end of the track for a darker psychedelic jam. The slightly silly and lighthearted “In Rounds” stands out from the rest of the album with it’s funky bassline and shuffling drums providing a strong foundation for nice organ and horn work. “Bounce” builds to an uptempo second movement and literally commands the listener to jump around and dance.

    Paper Wheels is an intimate album that showcases Anastasio’s knack for composition, blending elements of pop, jazz, funk and classic rock with almost orchestral arrangements.

    Key Tracks: The Song, In Rounds, Bounce

  • Hearing Aid: One Direction ‘Made In The A.M.’

    One Direction will officially release their fifth studio album Made In The A.M. on November 13 via Columbia Records. At this point most people have an opinion of One Direction. Critics will brush them off as a band lacking chemistry, a band that was put together by Simon Cowell in desperation to save ratings for The X Factor in 2010, some even say the band has minimal talent musically and the vocal talent they do have is shadowed by auto tune or filters. Some say they’re just a band that merely functions the way the record label wants them to.

    Then there’s the other side of the spectrum; the fans that spent days posting videos of their crying testimonies to get Zayn Malik to reconsider his decision to quit the band seven months ago (Malik allegedly left the group because of their rigorous touring schedule). The numbers don’t lie either. To date, One Direction has sold over 65 million records and performed live for over 7.5 million fans. When the band released their first single off the album in July, it jumped to #1 on 90 different iTunes charts and shattered streaming records globally. Very few pop artists can say they’ve done more with less (I’m sure T. Swift and Bieber are up there). Call them what you will but One Direction is the biggest pop band in the world right now and after being together for more than five years they’re not showing any signs of slowing down.

    The most recent single “Perfect” was released on October 16 to a positive response from the fans. The messages in this song are inspired by young love and feature an upbeat undertone. Currently, One Direction are playing arenas throughout the U.K. and Ireland for their ‘On The Road Again Tour.’ The band also recently headlined the Apple Music Festival at London’s famous Roadhouse venue. 2015 saw the band overcome their toughest challenge yet when one of their founding members retired, but the steady trajectory of their success is growing exponentially like some recusant virus. Despite allegations of the band disbanding (which aren’t true), One Direction will take an extended hiatus from touring in 2016. The new album is available for pre-order now.

    Key Tracks: Perfect, Infinity, Drag Me Down