Manhattan based experimental musician Annie Clark, more commonly known by her stage name, St. Vincent, announced that she plans to reissue her newest album, St. Vincent, as a deluxe edition with five new songs, set to launch on Feb. 10.
St. Vincent said that alongside the unreleased songs, the reissue will contain remixes as well as digitized versions of “Pieta” and “Sparrow” which previously were only officially released on vinyl. She also said that one new title will be “Bad Believer.”
The reissue will be available through St. Vincent, iTunes, and retailers.
Albany based band Bishop might have been described at times as an alternative metal or hard rock act, as their blatant use of loud, blasphemous guitars suggests, but their upcoming album, Hate Wide Open, set to drop Jan. 6, has more to offer.
From an overall perspective, Hate Wide Open, is an experience in groovy, hard rock mixed with the melodic type of vocals. The instrument section, composed of three brothers – Tom Semeraro on guitar and lead vocals, Rocco Semeraro on drums and backing vocals, and Vincent Padula on bass and backing vocals — who also generate a fairly tight system of vocals based around their lead singers melody. The music is not far from groove – oriented hard rock. Clutch fans will enjoy the riff driven guitars, rather than stand alone chords — the latter of which is all but absent in the album, while Anthrax and Metallica fans will likely enjoy the vocal styles. And finally, Bishop, clearly understand the necessity of deliberation in an album. If nothing else, Hate Wide Open hits its listener in the jaw.
You’ll be able to shout along, bang your head, and nod to the groove in your car.
Unfortunately, the album is far from perfect. Bishop seems to have committed three great sins against their own ministry. One is that the album is repetitive. Guitars repeat the same scale all too much, and follow the same pattern. Songs such as the title track, and Pretty, come off as a rehashing of Clutch’s Blast Tyrant, Anthrax, and at times even Mötley Crüe. And these combinations result in the listener’s belief that Bishop’s ability to write is limited, and worse, it can cause the listener boredom.
Likewise, some of the lead vocals come off as lazy, as at certain points, they lack integrity, or may have been rushed through the recording process. In these instances, Tom Semeraro’s voice simply seems tired, it drags on for just too long.
Luckily, Hate Wide Open ,contains a few tricky twists, at least enough to keep the listening party active for one full round. “Awaken” is a brilliantly a constructed straight rock ballad — it seems to draw its influence from a few different acts and sounds different from any other song on the album — transitioning from an emotional acoustic dance to heavy sway.
Further, the album is strong with enough NOLA type riffs, along the lines of Down or Crowbar, to further the great energy the album has. In similar fashion, “Neverland” is quite possibly the strongest track on the album. It twists straight rock with psychedelic build. If this song doesn’t capture your attention, few things will.
Overall, Hate Wide Open, is a solid attempt, but Bishop doesn’t really bless us with this one. They would do well to reevaluate how songs are written — and although the album is energetic — it just doesn’t satisfy. But don’t worry, guys, we’ll give you a second chance. Say ten Hail Mary’s and we’ll consider you absolved.
The album can be purchased directly from the band at bishopmusic.com.
Take a step back to the roots and let Johnny be your tour guide. Recorded before the untimely passing of Johnny Winter at the age of 70 in July 2014 and released as planned in September, Step Back brings us on a 13-song journey through the roots of blues. He takes along a plethora of talent to spotlight throughout the album, including Upstate NY’s own Joe Bonamassa. Though Winter has played the field of rock and roll, his heart had always been in the blues and Step Back brings his recordings full-circle.
Back in 2011, Winter released his penultimate album Roots which was a predecessor to Step Back. Much the same, that album journeys through the early blues recordings with guest talent – Jimmy Vivino, Susan Tedeschi, Derek Trucks, Warren Haynes, and his brother Edgar Winter among others.
A day or two prior to Johnny’s performance at the Towne Crier Café in October 2012 (currently located in Beacon, NY but located in nearby Pawling, NY at the time) I had the privilege to interview him over the phone live on WRPI Troy. At the time, Roots had been out for about a year and the idea for a “Roots II” follow-up album had at least been formalized. I asked him how he goes about picking who he wants to collaborate with on the album and who he wanted to get on the album but couldn’t for whatever reason. Here’s what he had to share regarding Roots:
I just pick people I liked. Paul [Nelson] actually picked most of them and they were people that I liked, people I have known. I have a lot of respect for all the guys on the record.
There were a lot of people. I wanted B.B. King, Buddy Guy, Dr. John, Billy Gibbons, a lot of people that just didn’t have the time to do it… Eric Clapton. Maybe we’ll get them on the next one.
Get some of them he did for Step Back. From that list he is joined by Eric Clapton, Billy Gibbons, Dr. John, and also by Leslie West (Mountain), Brian Setzer, Ben Harper, Jason Ricci, the Blues Brothers Horns, and Joe Perry (Aerosmith).
Johnny Winter with NYSMusic’s Steve Malinski and fellow WRPI DJ Mike Buhuski, Oct. 19, 2012
As a blues standards album, all but one of the songs are covers of songs originally recorded by the iconic names of blues and rock and roll – Willy Dixon, Bo Diddley, B.B. King, and Howlin’ Wolf, among others. Some may say that a covers album is a simple way to record and release another album to sell but to say that about Step Back (and Roots as well) would be a mistake.
Johnny and band mate/producer Paul Nelson did something with this record that would make you second-guess if they were actually his songs vs. covers. The songs are re-crafted to be all about Johnny’s noted guitar and slide guitar work bolstering howling licks and smooth blues with a big unyielding sound. He does this all with staying true to the old blues structure of composing. The guest artists also add their own distinct sound when they take their turn at some solos and rhythm fills.
When I interviewed Johnny I also asked if he had any sneak peaks at the then unnamed follow-up album he didn’t want to spoil any surprises. “Well, I don’t want to tell you what we’re going to do. I’ve got a pretty good idea though!” he said toward the end of the interview.
Winter’s take on these blues standards gives a fresh life to them. Not to say the genre has ever faltered or given way, however. It is a gratifying listen to long-time blues and rock aficionados but presents the standards to a younger generation in a vibrant rebirth of those songs hidden in the LP stacks or heard when passing by Stevie Ray Vaughn’s cover of “Who Do You Love” on the radio.
While listening to the album it is profitable to have the liner notes on hand to be your guide to each song. There is no story or narrative about the songs nor lyrics; the notes are simple and to the point laying out precisely which part of the song features the guest artist. Let the notes be your friend and make for a more fulfilling experience listening to Step Back.
Step Back has been nominated for Best Blues Album for the 2015 Grammy Awards on February 8 and is up against releases by Dave Alvin & Phil Alvin, Ruthie Foster, Charlie Musselwhite, and Bobby Rush with Blinddog Smokin’.
Key tracks: Unchain My Heart, Sweet Sixteen, Death Letter
Track Listing, with original composer and guest aritst:
Manhattan based experimental musician Annie Clark, more commonly known by her stage name, St. Vincent, announced that she plans to reissue her newest album, St. Vincent, as a deluxe edition with five new songs, set to launch on Feb. 10.
Back in 2011, Winter released his penultimate album Roots which was a predecessor to Step Back. Much the same, that album journeys through the early blues recordings with guest talent – Jimmy Vivino, Susan Tedeschi, Derek Trucks, Warren Haynes, and his brother Edgar Winter among others.