NYS Music 20​16

Tag: americana

  • Hearing Aide: Shovels and Rope “Little Seeds”

    Michael Trent and Cary Ann Hearst, better known as Shovels and Rope, pour their hearts out in the newest release, Little Seeds. What I found so fascinating about the album was the fact that they were able to touch upon so many different types of folk and Americana music, but still manage to paint a light coat of something distinctly them. While the songs may sound incredibly different from beginning to end, the duo’s gently massaged track selection presents an incredibly supple flow that highlights their talent and eclectic taste.

    The first and second tracks introduce a band that is confident, gritty and loud! While some of the later songs may be appropriate for a quiet evening of snuggling up with your honey, “I Know” and “Botched Execution” would be more suitable for a late night party with some of your closest friends. It isn’t until the third track, “St. Anne’s Parade,” where we step into the chill zone with the soothing vocal harmonies and soft, simple acoustics that frequently drift into Little Seeds. I would consider this “soulful Americana” as Hearst and Trent passionately belt out the well-written lyrics.

    “The Last Hawk” picks the tempo up in the most pleasant way and reassures the listener that this album is going to stylistically take us for a ride. As much as this studio project was about their personal experiences, many Upstate New Yorkers will connect with the references to Woodstock and Saugerties in this particular story. “Mourning Song” has a lyrical structure similar to that of a traditional Irish folk tune and tells the tale of a grieving wife’s connection with her deceased lover through music. The theme of birth and death and all that we feel in between is presented throughout Little Seeds, but the duo’s songwriting ability is so hardy that the same concepts are presented in such unique and different ways.

    “Johnny Come Outside” is another one of the calmer, thought provoking numbers which has a hook resembling Bob Dylan’s widely covered “You Ain’t Goin’ Nowhere.” Where Dylan has had an influence on generations of folk, blues and Americana artists, Shovels & Rope are planting the seeds that will grow into the next garden of fresh young sonic storytellers. “San Andreas Fault Line Blues” introduces us to yet another taste of bluesy gospel music, but this time one can hear Johnny Cash casting his light on the duo’s lyrical approach. “BWYR” is a haunting and topical song that profoundly delivers the ugly messages of racial injustices in a world where all we need is some peace. The faint sounds of police sirens whisper in the background of this enlightening and important piece of poetry. “Eric’s Birthday” seamlessly fades into the last track, “This Ride,” and delivers the euphoric reminder of life and love before sending us all on our way.

    Whether you have just given birth to a new child or have recently lost someone, Little Seeds will help you reflect. Ever experience loneliness, bliss, heartache or confusion? Listen to this album. If you enjoy gathering around the campfire with family and friends or spending the day alone in a busy city, this release is for you. Filled with powerful messages, spiritual symbolism, and deeply expressed life lessons, Shovels & Rope have created a robust collection of songs that you can play in front of your grandparents, your grandchildren and everyone that you meet along the way.

    Key Tracks: St. Anne’s Parade, The Last Hawk, Johnny Come Outside

  • Holy Ghost Tent Revival Converts Listeners to Fans

    It was only appropriate that a group named Holy Ghost Tent Revival, from Asheville, North Carolina, played at a converted church, and converted listeners into new fans. Named after a roadside advertisement in their home state, they kicked off the fall schedule at the Kirkland Art Center on September 8th. The six-piece band showed tremendous versatility, with four different members playing keyboards at various times during their two-set performance.

    brian-cornish-holy-ghost-tent-revival-18Stephen Murray handled most of the lead vocals and rhythm guitar, but also played trumpet, and switched to the bass guitar when Kevin Williams played piano. Murray sat at the keys himself to close the first set with a stunning cover of George Harrison’s “Isn’t It a Pity,” performed with remarkable grace. Ross Montsinger on drums and Kevin Williams on bass handled the bottom end, with Williams lending backup vocals on most songs. Williams’ lead vocals and song styles while playing keys had an early Elton John feel to them. The majority of the band’s selections were in the roots rock/Americana realm accented by the wonderful punch of Charlie Humphrey on trumpet and the trombone of Hank Widmer, who both also played keyboards.

    brian-cornish-holy-ghost-tent-revival-07Widmer added clarinet on some of the evening’s quieter pieces. Rounding out the sextet was Matt Martin leading the way on guitar, sales pitch chants (“Pay what you want. Pay what you can.”) entertaining gesticulations, and fashion sense. How many ascots have you ever seen on stage?

    The intimate venue may have had a bit of a reduced crowd on a Thursday night, but those in attendance were very appreciative of the energetic appeal of this group, and glad to have the opportunity to support live music. Holy Ghost Tent Revival’s most recent release, the EP Summer Jelly, is available on a pay what you want, pay what you can basis. The remainder of KAC’s fall performance schedule, and other events, may be found at Kirkland Art Center’s website.

    brian-cornish-holy-ghost-tent-revival-04Partial setlist: Who Knew, Long Road, Right State of Mind, Sun/Shadow, Walking Over My Grave, Isn’t It a Pity?, Trouble with the Truth, Smoke Myself to Death, Long Night, Broken Spirit, The End to, Thought About

  • American Music at the Earlville Opera House, from Dave Alvin and Phil Alvin with The Guilty Ones

    Dave Alvin and his brother Phil have been checking things out ever since they snuck into legendary clubs and theaters as under-aged teenagers to see and hear the artists that provided them with a musical education. In doing so, it is evident that they formed an appreciation for those artists and edifices that have stood the test of time. So it was no surprise to see Dave strolling down the sidewalk of Earlville, checking out the storefronts and old buildings prior to Friday night’s performance of Dave Alvin and Phil Alvin with the Guilty Ones at the Earlville Opera House on September 2.

    Dave AlvinTheir appreciation for those venerable artists was also evident in the choice of songs performed that evening. Bill Broonzy and Big Joe Turner, featured songwriters on their two most recent releases, Common Ground and Lost Time from Yep Roc Records, were highlighted in multiple selections. Even one of Dave Alvin’s own songs honored a singer whose star shone brightly but briefly for only twenty-five years, and whose gunshot death by his own hand has been the subject of rumors and wild conjecture that only grew as decades passed. Those elements provided the basis for “Johnny Ace is Dead,” one of several stand out numbers in a rambunctious two hour performance. This song showcased Dave Alvin‘s songwriting, story telling, singing, and guitar.

    Dave’s brother Phil Alvin, now back recording and performing after serious health issues in recent years, is a tremendous vocalist. Phil’s singing on Turner’s “Cherry Red Blues” displayed both the power and nuance for which he is known. He also added his skills on harmonica and acoustic guitar to various songs.

    The not-so-secret weapon in the Guilty Ones, the Alvins’ backing band, is the incredible Lisa Pankratz behind the drums. I’ve heard it said that for drummers, songs are like children. Some you can trust on their own, and just remain in the background keeping an eye on things. Others need to be nudged along to find their way forward. Still others might require a kick in the ass. Pankratz performs those tasks as well as any I’ve ever seen. Rounding out the Guilty Ones are Brad Fordham on bass and vocals, and Chris Miller on guitar.

    The Alvins also drew upon their days as founding members of prominent Los Angeles band The Blasters with crowd favorites “Border Radio” and “American Music” as well as two of their encores, “King of California” and “Marie, Marie.” For a toe-tapping, hip-shaking good time, go see Dave Alvin and Phil Alvin with The Guilty Ones.

    Special guest performer Sarah Borges opened the show with a solo acoustic set of primarily songs off her recent CD, Good and Dirty. Included was an exceptional cover of “Stop and Think It Over” (No, not the Perry Como song.) She had an easy rapport with the audience, and told hilarious stories of life on the road playing music. The Boston based musician is a name you should remember to check out, as Dave and Phil Alvin did.

    All photos were taken at the historic Earlville Opera House, now celebrating its 45th anniversary season.

    Setlist: All by Myself, I Feel So Good, World’s in a Bad Condition, Mister Kicks, Cherry Red Blues, Hide and Seek, Southern Flood Blues, Border Radio, Johnny Ace is Dead, Truckin’ Little Woman, What’s Up with Your Brother?, Dry River, American Music

    Encore: King of California, Marie, Marie, Turn on Your Love Light

  • Dave Alvin and Phil Alvin with the Guilty Ones to appear at Earlville Opera House

    Dave Alvin and Phil Alvin are well known as founders of the prominent Los Angeles band the Blasters, which existed where blues, punk, country, and rockabilly found a way to intertwine and helped spark the resurgence of what has come to be known as roots rock or Americana music. In the late 1980’s, the brothers went their separate ways with solo acts and side projects, until rejoining forces for 2014’s Grammy nominated Common Ground, a tribute to Big Bill Broonzy. Dave Alvin’s driving guitar work, along with Phil Alvin’s powerful howling vocals, and backed by the Guilty Ones, make for an irresistible sound on last year’s release, Lost Time, also available from Yep Roc Records. That recording saw Dave and Phil continue to pay homage to their influences, and includes four songs written by Big Joe Turner, who they had met when still teenagers. Turner had been a friend and mentor to the Alvins until his passing in 1985.

    As for the enduring appeal of the music they play and cover, Dave Alvin has said, “In some ways, this type of music doesn’t die. It goes through bleak periods or droughts, but I think there’s always going to be a type of kids like us, who are looking for something else. We may not be in the majority, but there will always be a sizable minority of oddballs that find purpose in old music, find meaning in the older music, and then take it wherever they’re going to take it from there.”

    On Friday, September 2, the Earlville Opera House will present Dave Alvin and Phil Alvin with The Guilty Ones, along with special guest opening performer Sarah Borges, beginning at 8:00 p.m.

    The Earlville Opera House is an intimate, historic building originally constructed in 1892. A limited number of tickets remain available for the show, and may be purchased through the Earlville Opera House.

  • Hearing Aide: The Broadcast ‘From the Horizon’

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    Within a flashy realm of brass interludes, conventional chord structures and foot-tapping rhythmic changes, the Broadcast will soon release their third studio album, entitled From the Horizon.

    As every grassroots band from Asheville, North Carolina, faces in their early stages, the eagerness to record, sell and play often sidetracks the artist from the bigger picture: the feeling of  security in their sound. And after three initial releases of Days Like Dreams (2010), Live (2012) and Dodge the Arrow (2013), the Broadcast’s upcoming record From the Horizon is a sonic gearshift from classic funk-rock to Americana roots-rock that offers listeners a soulful soundscape of influences. As the band’s sound continues to mature, so does their self-confidence, and it is here that we learn what defines the Broadcast musically, at least for now.

    From the Horizon is declarative in its intentions, and has enough variety to please all ears. Frequent festival-goers who prefer a more summer-in-your-backyard tune will most likely gravitate toward “Double Down” and “Eyes of A Woman,” embodying illustrious riffs from guitarist Aaron Austin and a Grace Potter-like writing style delivered by powerhouse vocalist Caitlin Krisko. For others who thrive in the stomping and hollering kind of rush, jump right to “Every Step” and “Bring It On Home” with the on-target rhythm section featuring bassist E’Lon Jordan-Dunlap and percussionists Jaze Uries and Tyler Housholder. The most contrasting part of the album sits on the slide of Austin’s guitar in the bluesy twang of “Battle Cry,” which boasts an equally rebellious lyrical message to match.

    There’s no doubt that the Broadcast has finally found their sound in From the Horizon, being that they were able to land Grammy Award-winning producer Jim Scott (Wilco, Tedeschi Trucks Band, Sting) in their control room and have already secured several festival dates sure to draw in new crowds this summer. With a variety of folk-timbred instrumentation, aux percussion and soulful growls, this is a band that has potential for great success in the live music sphere. However, their musical vision quest is hardly over, and they’ll need a little more development before taking on the world of recorded rock and Americana, but we’re happy to follow along.

    From the Horizon officially drops on June 17, but a selection of the album’s tracks can be sampled on soundcloud. Keep up-to-date with the Broadcast on their website and Facebook page.

    Key Tracks: Every Step, Bring It On Home, Battle Cry

    https://www.youtube.com/watch?v=p3tqkBoQ35c&feature=youtu.be

  • Hearing Aide: The Honeycutters “On the Ropes”

    HoneycuttersOnTheRopesBigCov

    A follow-up to the chart-topping breakout album Me Oh My (2015), the Honeycutters’ latest release, On the Ropes, brings a breezy soundtrack for Sunday driving down that lonely country mile.

    Frontwoman Amanda Anne Platt (lead vocals, rhythm guitar) comes on strong in the record’s opening title track, before lulling listeners along in “Blue Besides.” It’s the third song, “Golden Child,” that demands full attention, with its bluesy vocals, relatable lyrics and soul-bending composition.

    Throughout 12 original songs, Platt shares personal stories from the battlefield that cover the spectrum of love, loss and learning, writing “I’ve been a stranger here before, I’ve been a soldier, I’ve been the war, and I’ve done my time on the wrong side of the door, I’ve been peaceful, I’ve been wild, I’ve been a Golden Child.” She’s down-to-earth in her delivery of tell-it-like-it-is advice (“hang up that halo and get by with the rest of us, let those wings go to rust…you’re not taking any chances, you’re looking for that easy answer”) from one strong-headed woman who’s “not hanging up my spurs, I’m just telling you I’ve learned.”

    Although not as mountain as Gillian Welch, the Hastings-On-Hudson native and Skidmore College graduate’s sweet, natural vibrato is a refreshing sound coming out of the songstress’ current base of Asheville, NC. And accompanying bandmates, Rick Cooper (upright, electric bass), Josh Milligan (drums, vocals), Matt Smith (pedal steel, electric guitar, dobro) and Tal Taylor (mandolin), are the perfect mixer for a polished concoction of rock and country elements with a sprig of rural Appalachia.

    From swingy, borderline pop-twang in “The Handbook” to steady rock in “Back Row,” highlighted by harmonica (played by Platt’s father, Mark) and electric guitar, to the slouchier slide and mandolin in “Useless Memories” to the trimmer distortion in “Ache” that makes the raw emotion feel real, and a jaunty, shimmery cover of Leonard Cohen’s “Hallelujah,” it’s all here, before the record is capped off with a dusty picture of gunslingers and barroom girls in “Barmaid’s Blues.”

    The Honeycutters have surely made something out of nothing with their fourth studio album, On the Ropes (out now through Organic Records); it’s alternative Americana at its finest, and Platt’s sincere songwriting is the gravy on the biscuits.

    Key Tracks: Golden Child, Back Row, Ache, Hallelujah

    https://soundcloud.com/user-123099651/sets/on-the-ropes

  • Bell Serenades The Knitting Factory

    On Sunday February 28, Bell brought their tranquil sounds to an eager crowd at The Knitting Factory in Brooklyn. The southern-bred, NYC-crafted folk group is comprised of Caitlin Marie Bell (guitars/vocals), Gab Bowler (bass), Harper James (guitars) Jared Saltiel (drums) and Jason Sager (keyboards).

    It was a fitting night for their bright, soaring harmonies and placid soundscapes as Mother Nature had graced the borough with warm(ish) temperatures and plenty of sunshine earlier in the day.

    The band took the stage, made quick introductions and graciously thanked the crowd for their support. They opened with a cover of “Let the Mermaids Flirt With Me” which was performed with so much character and earnest, you’d think it was an original. Caitlin’s soft and honest vocals weave a serene story over the band’s crisp and considered notes. They’re able to tell a different tale with each song and have the audience feel as if they’re a part of it; “Isn’t That Life,” an original, is a great example of this.

    They performed an excellent rendition of Hozier’s “Work Song” showcasing their tact at turning music into serious emotion. My favorite song of the night was their amazing performance of “In the Pines.” I’ve heard this track covered before but not quite how Bell did it justice; their harmonies and endearing sentiment allowed me to perceive the pain and worry the song imbues in a way I hadn’t heard before. Once the track ended you could hear a pin drop; they have an uncanny ability to tug on heartstrings through sound.

    I’m excited to hear and see more from Bell as they certainly possess an abundance of talent. Be on the lookout for upcoming shows in the NYC metro area!

  • Hearing Aide: Chris Maxwell’s ‘Arkansas Summer’

    Chris Maxwell‘s Arkansas Summer is his first release as a solo artist, but the Woodstock resident first appeared in New York’s music scene in the mid-1990’s, when his band Skeleton Key became known for its well-tailored combination of unruly grunge and mass-appeal rock ‘n roll. The right-place-right-time conglomeration of sub-genres landed Skeleton Key a major label deal, resulting in the 1997 Fantastic Spikes Through Balloon. After a period of touring behind the album, hitting several continents and playing shows with some of the era’s best-known alternative acts, Maxwell left the band and struck out on his own.

    In the time since, he’s accomplished seemingly everything in a solo career other than putting out an entire record under his own name. He’s been a producer, a co-writer, a composer for commercial projects like Bob’s Burgers and Inside Amy Schumer, and he’s used these experiences to built up to what is now Arkansas Summer, an album whose title fittingly circles back to the beginning of it all.While the album’s stylistic shifts and carefully unfolded genre transitions contextualize the extensive musical background Maxwell has developed, the album consistently stays grounded in the traditional americana influence of an upbringing in the South.

    Leading with an ethereal, sentimental track titled “Strange Shadows,” the record quickly sets a standard for swift changeovers by evolving into “Have You Ever Killed Yourself,” an aurally uptempo song defined by its hammond organ grooves and its electric guitar riffs. The two songs show serious Jeff Tweedy characteristics in their personal lyricism and Maxwell’s seemingly cigarette-stained – yet controlled, graceful – vocals.

    It’s the introduction to the album’s fourth track, which follows a brief recording of a woman candidly speaking in the assumed accent of Maxwell’s native Little Rock – driving home a wistful thematic overture of Maxwell’s roots – that the Tweedy comparison is at its most obvious. “Imaginary Man” begins with an intricate display of acoustic picking patterns coupled sparingly wth the musician’s engaging vocals. Eventually building up to a full-band finish reminiscent of Jakob Dylan’s Wallflowers days, the track is a definite American Summer highlight.

    Much like the initial stages of the record, tracks five through thirteen each show a different take on Maxwell’s ability to express his history through songwriting. “Arkansas Summer” is a patiently epic piano ballad, and “Devil Song” offers impressive production skills with its ominous and eclectic instrumentation.

    It’s taken a long time and great deal of experience for Chris Maxwell to get to the point at which he finds himself with American Summer.  If the album feels like winding, compelling journey for the listener, it’s because this is exactly what shaped Maxwell’s ability to make the album. From start to finish, American Summer is the work of someone who has earned his credibility, his influence, and his wisdom.

    Key Tracks: Imaginary Man, Arkansas Summer, Devil Song

  • Hearing Aide: The North & South Dakotas ‘Been Away’

    The North & South Dakotas, from the Saratoga Springs area, have been bringing their blend of bluegrass, country and rock n’ roll infused folk to music fans around the area since 2013. While they’ve always been a great combination of those genres, their new release ‘Been Away’ shows them able to put together an album that even further masters that sound. Start to finish, this is a great piece of alt-country, full of a healthy portion of slide guitar, great harmonies and songs that just sound like the sound track to living and loving far away from the lights of any big city.

    The album’s opening track “Caroline” starts off full of twangy goodness and sets the tone for the album, in the listener’s mind it’s all rural country life, there’s going to be lots long roads and heartbreak. But perhaps  most importantly there’s some fast-as-lightning string picking and great melodies to carry us through the ups and downs. Once the vocals kick in, you know you couldn’t be listening to any other group it’s the distinct sound of Zack Hay’s voice, now with a hint more grit and attitude from their previous releases.

    Sometimes though, the long nights full of whiskey, the growing feeling of needing a change, and perhaps a bad choice or two catch up with you and a day in bed is in order, contemplating how rough the lows really may have become. On one of the records slower tunes, “Please Don’t Wake Me” there’s talk about about  speaking with the devil if he chooses to shows up, and admitting maybe it’s time to pack up and move along. “I ain’t ashamed to float like a feather as I fall from grace. And I ain’t putting up a fight, and heaven knows I’ve tried, and when I land, you know I’ll find my place.” Guitarist Mark Retajczyk never misses the opportunity to throw in a classy guitar solo and in the video below, seeing the band in the warm golden glow of a fall corn field helps you hear the breath of hope even in a sad song.

    Other stand out tracks include “Katie”, fast paced with quick little starts and stops this is a song in the live setting that is going to get the ground shaking resulting from a room full of stompin’ boots. Nayt Patenaude sets the strings of the mandolin on fire in this track, good luck trying to sit still when it hits your ears. Throughout the album, the rhythm section of Mike Graves on drums and Colin Hunt on bass stay locked in time and provide a steady backbone throughout an album with plenty of musical turns and changes in tempo that give the songs life.

    “Nowhere Slow” is a little more outlaw country, like a dark storm rolling in, hot on your trail as you bolt out of town. The break down towards the end even sounds as if they threw a dash of sludgy metal into the every-type-of-Americana stew they’ve whipped up through the album. “Prayin’” will be the track that gets hips swayin’, before leading into the album’s final track “Swan”. The album’s closing track talks about making the way back home, after an album that has taken the listener through several tales of love, a few lonely nights, and no shortage of fun evenings spent with a drink in hand. With a long instrumental close to the song and album we’re reminded that these tracks are just as catchy as they are complex, and at its heart this is a group of very talented guys that are capable of showing us a good time while maintaining a level of depth and integrity that is often lacking in modern country music.

    On Saturday, February 13th The North and South Dakotas will be celebrating the release of Been Away at The Parting Glass in Saratoga. $10 entry also gets you a copy of the new album. The night will start off with a performance from Rebel Darling, the full band that M.R. Poulopoulos, one of the area’s strongest songwriters, puts together with a rotating cast of talent. Doors open at 7pm, music is set to start at 8pm. The Parting Glass is located at 40 Lake Ave. in downtown Saratoga.

    Key Tracks: Katie, Nowhere Slow, Please Don’t Wake Me