NYS Music 20​17

Tag: Album Review

  • Hearing Aide: Leslie Mendelson ‘Love & Murder’

    With so much noise going on in the world today due to technology, from cell phone beeps and rings to endless updates on various apps, it’s easy to get lost in the computer-strung clutter. The one enjoyment that can take an individual away from the murky shadows of continuous information overload is music. Sure, there are endless amounts of live shows available for streaming on the internet, but to really get to the raw simplicity of a note takes putting on the headphones and pressing play on the new album by singer Leslie Mendelson. Love & Murder is her first work released in eight years.

    Mendelson’s latest album steps away from her earlier work and presents music in a simplistic form, featuring full-bodied folk tunes filled to the brim with emotional ebbs and flows. The ten track album begins with a darker emphasis, as “Jericho” slowly carries the listener into the overall theme. Stripping away the extras, and focusing on the vocals, lyrics, and calm melody, it’s easy to sit back and get lost in her angelic voice. “It’s been a long time coming,” lyrics within the opener, have never been more true, as fans have patiently been waiting eight years for this new album. It was well worth the wait.

    An uncomplicated, piano heavy “Coney Island” takes listeners on an emotional whirlwind. Stringed instruments add to a heaviness surrounding the lyrics, while Mendelson’s vocals tear at the heartstrings. “Murder Me” continues the enigmatic vibe surrounding the album, as Mendelson’s voice, both mysterious and wispy, are charged with a heaviness tipping on sadness and loss.

    As if sharing a personal moment with Mendelson, “Chasing The Thrill” has an air flowing around the lyrics, as well as the melody, with a reflective core gluing the song together. A haunting “Crazy” gently drifts along. Unhurried and light, this track sways in a musical breeze, allowing the listener to relax and fall within the grip of the beautiful winding notes.

    An unexpected appearance on the album comes from the Grateful Dead’s Bob Weir, as he guests on the cover of Roy Orbison’s “Blue Bayou.” Weir originally discovered her as she performed her own twist on “Friend of the Devil,” and has since invited her to join him during performances. Their intertwined vocals throughout this song make for an affectionately graceful rendition that Orbison would be proud to hear.

    An effortless “Love You Tonight” rolls along at a confident pace, turning the corner away from the darker tones. Bright lyrics embody the upbeat notes, lifting spirits as the album progresses, without losing the overall feel of the simplistic mood. Maintaining hopeful enthusiasm, another cover takes hold, this time with a tip of the hat to Bob Dylan. A gorgeous rendition of “Just Like A Woman” is carried by the simple strums of the ukulele, with touches of guitar and harmonizing vocals gently sprinkled in to round out the effortless track.

    “The Circus Is Coming To Town” carries a mystical energy, surrounded by mystery and uncharted vibes, throwing the listener into a dusky trip under the big top. The album ends with a cover of the 1954 country classic “Cry, Cry Darling,” originally written by Jimmy Newman and Jimmy Miller.

    Love & Murder flows freely. It’s stocked with raw simplicity and no holds barred emotion. Take a trip away from technology with this beautiful album filled with heartfelt tracks, deep with fearless tenderness. The natural flow from track to track will take the listener on a ride reaching into the depths of one’s soul, making sure to pay attention to each note and lyric, without getting lost in the noise.

    For more information about Leslie Mendelson and her new album, Love & Murder, please visit her official website.

    Key Tracks: Jericho. Love You Tonight. Cry, Cry Darling

  • Hearing Aide: Big Mean Sound Machine ‘Runnin’ for the Ghost’

    Big Mean Sound Machine is an instrumental funk group which has been evolving since the summer of 2009.  The adjectives in the band’s name are normally used to describe a Godzilla-like monster and this 9-piece out of Ithaca, NY has a sound that is far from gorgeous.  While members have come and gone to aid in the experimental efforts, their urge to grow creatively never ceases to amaze their loyal fan base.  Known for throwing some of the sweatiest dance parties in the Northeast, Big Mean Sound Machine has been ambitiously touring and working hard to welcome new followers with no plans of slowing down.  The new fan-funded album, Runnin’ for the Ghost, is just one example of how relentless experimentation on the road can lead to something positive and fruitful in the studio.

    The opening track, “Return of the March” begins with sound effects reminiscent of spaceship maintenance from a galaxy far away.  The futuristic afro-beat introduction to the album peppers in the perfect amount of brass giving it a relaxing hookah lounge feel.  “Runnin’ for the Ghost” features haunting synthesizer-bass interplay with a worldly drumbeat acting as the powerful nucleus.  The title track is the longest on the album, inviting listeners to embark on the meanest, craziest and biggest journey of all and is sure to become a staple of their already bustling live music repertoire.  “Hired Guns” takes to the streets of New Orleans for a straight forward funk piece that would mix well with any Mardi Gras influenced cocktail.  Extremely danceable and groovy, the track exits on the other side of the Earth with a tribal, West African percussion section.

    Big Mean Sound Machine attempts to travel to all parts of the globe in terms of musical influences and in “Burning Van” they cover the slums of Latin America.  The tenor sax and trombone combine forces as other band members delicately weave in and out of the track to create a perfect theme song for any 1970’s police detective TV montage.  Every band has a song that can attract attention simply based on the name.  On their newest release, “Triple Bacon” is that song.  While the title may induce hunger for one of our planet’s finest meat products, the gritty jazz will help you get your ass on the floor and burn some calories.  The 11 tracks come to an end with “Another Grain of Sand” returning to the afro-beat and Jamaican dancehall influence that has appeared throughout the 44-minute album.  An Epcot-like adventure through many different cultures and influences proves that these talented musicians have studied the encyclohpedias of sound.  From James Brown to Fela Kuti, the ghosts of artists that have come before them are sure to be dancing wherever they may be.

    Check out Big Mean Sound Machine on tour and pick up Runnin’ for the Ghost now!

    Key Tracks: Runnin’ for the Ghost, Hired Guns, Triple Bacon

  • Hearing Aide: Morricone Youth ‘Mad Max’

    Morricone Youth is an odd music collective no matter which way you look at them. Formed in Brooklyn and having been performing together since 1999, the group focuses mainly on writing soundtracks for already existing silent and midnight movies. A total of 15 have been done so far, includeing Eraserhead, The Battleship Potemkin, Enter the Dragon, Foxy Brown, the original Nosferatu, Fantastic Planet, The Lodger: A Story of the London Fog, Night of the Living Dead, and the work I’ll be reviewing here, the original 1979 Mad Max.

    How Morricone Youth’s shows usually work is the movie the soundtrack’s for will play, without sound of course, as the band plays their music over it instead. The only image I could find of the band playing live, one in granulated black and white, had the members in the frame wearing Michael Myers type masks. Now, aside from playing live, Morricone Youth is recording all the soundtracks they’ve composed so far, with Mad Max being their latest release.

    The first thing you need to get out of your mind, and I reiterate, is no, this is not a direct recreation of the original Mad Max score. This is their own interpretation based on their varying styles. I myself have only seen this film once, so my knowledge of events the music is supposed to correspond to is limited.

    The opening number, “Halls of Justice,” begins with a somber violin with electronic bleeps and blorps, along with distorted vocals where the only lines I could make out for sure had to do with the Interceptor, Max’s car. So when it flows into “Mad Goose,” after another synth buildup, the chase from the beginning of the movie is in full swing, complimented with surf guitar and clanking keyboards. You certainly feel like you’ve been taken along for a ride.

    Much like a soundtrack should do, it weaves in and out with your emotions. “Clunes Town,” “Jessie,” and “Johnny the Boy” are supposed to the down points, where the audience is meant to catch their breath and catch up with the side characters, like Max’s wife and child. There are also bits of cheesy saxophone and trumpet in there to make this feel authentically from the late 70’s, early 80’s (though not as cheesy as in “Beyond Thunderdome”). Meanwhile, tracks like “Revenge of the MFP,” “Nightrider,” and “Toecutter,” are downright villain songs. Which makes sense since they’re named after the various villains in the movie, with loud blaring instruments and melodies filled with tragedy, mayhem, and the urge to fight the nearest person to you.

    When the last song, “Bad Max (End Credits)” finally comes around, with a general melancholy sound from all the instruments, you feel as worn out as Max at this point, where he finally gets his revenge and leaves civilization behind for the outback. You feel just as worn out as Max at this point, longing for peace. If this album taught me anything, it’s that I should really re-watch the Mad Max movies. I remember enjoying all of them and I haven’t gone back to them since I saw Fury Road in theaters. Then I can determine for myself if this music actually does fit the parts they’re supposed to.

    Key Tracks: Mad Goose, Nightrider, Bad Max (End Credits)

  • Hearing Aide: BIG Something ‘Tumbleweed’

    When BIG Something arrived on the scene back in 2009, their name made it apparent they knew what the future had in store for them. Fast forward eight years later and the funky, electronic, alternative rockers have gone nowhere but up, managing to keep climbing the ladder of fame. Continuously bringing the high-energy jams to east coast music festivals, the group crafted their own annual fest in Mebane, North Carolina: The Big What. After three studio albums, the six-piece hailing from NC decided 2017 was the year to put forth their newest endeavor titled Tumbleweed, the namesake of their December 2016 teaser single. If Tumbleweed is any accurate indication, 2017 is already shaping up to be huge for them.

    In anticipation of their then-impending album, the group decided to launch “Tumbleweed,” paired with a quite jarring narrative, giving fans a spoonful of what was to come in the following weeks. The name “Tumbleweed” references the main character of the track who finds himself endlessly wandering through the depths of a post-apocalyptic desert. If that’s not enough of a concept, he’s hallucinating on peyote, too–quite a trip. The album’s narrative is centered on his lonesome and dark destination and his will to survive and keep movin’ on.

    Released on February 24, 2017 and recorded at Echo Mountain Studios in Asheville, NC, the album blew into the speakers of many, proving to be an apt addition to their album lineup: 2010’s Stories From the Middle of Nowhere, 2013’s self titled venture and their penultimate release in 2014, Truth Serum, in addition to a number of live releases. The 8-track album covers a lot of ground, taking a step away from the group’s more lighthearted, carefree and fun tone, bringing it down to a darker realm of sonic trips through barren desserts. Of course, some tracks held true to an upbeat feel but for this runaround, the group decided they’d convey a heavier temperament while flying through a variety of genres.

    The title track, acting as the first glimpse of the album produced by Grammy-nominated John Custer, leaves listeners feeling as if they’re the ones left deserted on the cracked earth beneath a heavily beating sun. The opening notes alone spark an instant curiosity and yearning to hear more. The lyrics, “Cactus tripping/eclipse the sun/mind or mirage/are you having fun?”and synthy keys conjure up psychedelic inspiration and provoke deep thought with airy guitar solos to match.

    This is quickly juxtaposed by “Song for Us,” the second track on the album. Desolate emotions are exchanged for happier, reggae tunes solidifying the fact that the listener is on their own unique journey through Tumbleweed, one they must come out of in their own way, as they bounce between lighter and darker moods. Allowing an ending guitar solo to smoothly transition into “Passenger,” the track begins to grab at bluegrassy (think String Cheese Incident), western influences and spirals further into the theme of wandering in darkness.

    “Blue Dream” follows, introducing a jammier, space rock sound to the album that has yet to be seen. Regardless of being instrumental in its entirety, the track demands your attention. Contributing to the southern rock theme and tying in psychedelia, this track mirrors the album artwork nicely, which displays major sci-fi nods with images of UFOs and alien life. “UFOs are Real” brings a bit of kitschy lyrical fun with groovy bass lines, an added horn section and a quick ability to force you on your feet to dance. The penultimate track, ironically titled “In the Middle,” brings some Californian vibes with surfer rock mentality through its vocals. Wrapping up the 2017 release, “Waves” proves to be a fitting closing track, offering a powerhouse of a crescendo that softens into reminiscent tunes from the album’s opening track. Listeners are seemingly looped and dropped off at the beginning of their own desert trip, left to reflect on the highs and lows the last eight songs challenged them with.

    Tumbleweed is a gripping, innovative release chock-full of imagery, creative instrumentation and solid production, which gave Nick MacDaniels (vocals, guitar), Doug Marshall (bass), Josh Kagel(keys, trumpet), Casey Cranford (saxophone, EWI), Jesse Hensle (lead guitar), and Ben Vinograd (drums) the opportunity to shine in their respective areas and display their utmost dynamism, both in the studio and on stage. Although unmistakably dark, the album grounds the listener and helps them come to terms with the fact that we are all just tiny ants on this humongous globe in space, dragging ourselves through the scorched earth beneath our feet. It’s up to us to keep going.

    Key tracks: Tumbleweed, Blue Dream, Waves

  • Hearing Aide: Obituary ‘Obituary’

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  • Boogie Low Celebrating New Release in Syracuse Saturday

    Syracuse-based groove rockers Boogie Low have a hometown party planned for the release of their new eponymous album at the Westcott Theater Saturday March 18.

    Photo Credit: Nicole Carey Photography

    Opening for Boogie Low Saturday night are fellow Syracuse-area natives, Barroom Philosophers, who are also promoting a new release.  Tickets for the show are $10 and can be purchased at Sound Garden in Armory Square or online through the Westcott Theater’s website.

    The quartet first formed as the Boogie Low Trio in 2011. Founding members Tommy Dennis (bass), Loudon Smith (guitar/vocals) and Brandon Caza (drums) used a reggae-tinged sound reminiscent of Sublime and other Long Beach, CA bands of the early ’90s as a base. The band ditched the “Trio” from its name when it brought on guitarist Matthew West in 2012. The band parted ways with Caza in 2013 and was replaced by Brandon Au, completing the band’s current lineup. Other contributors to the new album include Ray Wiggins on drums, Ty Hancock on keys and Josh Alaniz, also on keys.

    The new album, simply titled Boogie Low, has influences ranging from the aforementioned Sublime to Santana, moe., Umphrey’s McGee, 311 and Calexico. This range of influences allows Boogie Low to create its own distinct sound that encapsulates all of them.

    Smith’s vocals are rhythmic, soulful and smoky, while West’s western-style guitar solos wouldn’t be out of place on a Quentin Tarantino soundtrack. This is especially prominent on the tracks “Mexico,” “Eldin” and the band’s signature jam vehicle “Shadows,” which closes the album.  Wiggins’ drumming and Au’s percussion work is what keeps this train moving. Their beats are at the forefront of Boogie Low’s sound. The accents Wiggins and Au provide help to propel the rest of the band to the next level. One can easily feel the jamming possibilities in a live setting being propelled by the percussion.

    The CD was produced at SubCat Music Studios in Syracuse by Jeremy Johnston and mastered by Patrick MacDougal. The band credits Johnston as being the captain of the ship from start to finish. Physical copies of the album will be available at the Westcott Saturday night or directly through the band’s website. Following the show, the album will be available through iTunes, Spotify and on Pandora.

    Track list:
    1. Mexico
    2. Eldin
    3. Back to Nothing
    4. Better Way
    5. Colas in the Sky
    6. Annie
    7. Miss Bliss
    8. Tommy’s Song
    9. Walk On
    10. Mckenna
    11. Shadows

    Key Tracks: “Mexico,” “Colas in the Sky,” “Shadows”

  • Hearing Aide: Ned Luberecki “Take Five”

    I’ll openly admit I don’t know that much about bluegrass music, other than the fact there’s more emphasis on the banjo than other kinds of folk music. And my experience hearing the genre is limited to going to places trying to replicate an authentic Americana theme. So given the chance to review a bluegrass album, especially from someone considered one of the modern masters, Ned Luberecki is as close as a superstar the bluegrass scene currently has right now.

    ned lubereckiAlong with playing for an extensive number of bands, like Becky Buller Band, Chris Jones and the Night Drivers, the Rarely Herd, Paul Adkins and the Borderline Band, and the duo Nedski & Mojo, he also hosts two shows on the SiriusXM Bluegrass Junction channel, Derailed and More Banjo Sunday. But if there’s anything I got out of listening to his newest album Take Five, it’s that bluegrass isn’t limited to just songs about living in Appalachia and you can actually have a sense of humor playing it.

    Even the album art itself leads me to believe Luberecki is in on whatever joke he’s playing. It’s very much the same 50’s modern style Dave Brubeck’s Time Out album cover is based on, but with an upright bass and banjo painted in the image. Not something you’d expect to see when preparing to listen to folk music, but I suppose trying to invigorate something new into a genre is good.

    The first half of the album contains all the bluegrass you’d expect, and about topics people with a limited knowledge of the genre like myself can predict would appear. “Higher Ground,” (not the Stevie Wonder song) featuring Dale Ann Bradley on vocals, is about living in Kentucky, finding what your heart really wants, and proclaiming, “My mountain stands alone.” “We’ll Put out the Fire,” featuring Amanda Smith, is about finding the perfect man and “Fiddlin’ Dan,” is about a fiddle player who has the skills to charm even the fiercest of woodland creatures. Along with the other instrumentals placed in there, most notably “Adams County Breakdown,” “Night Rider,” and “B-Flat Medley,” Ned Luberecki has plenty of room to show off his quick plucking and interplay with the violin in the background, creating a proper atmosphere for some country revue action.

    In the middle of the album, we get around to the part that separates this from typical bluegrass music, jazz covers! There’s the Dave Brubeck class for which this album is named after, the bossa nova standard, “The Girl from Ipanema,” and the Thelonious Monk song, “Blue Monk.” Luberecki’s banjo is still front and center here, but the background is completely different from the standard bluegrass on the rest of the album. There are jazz drums, blues guitar, upright bass, and organ bleeps happening, while the banjo playing is slowed down considerably to draw out every little musical line. Especially on “Blue Monk,” which features prominent blues guitar, Luberecki is certainly confident in his genre blending, with bluegrass, jazz, and easy listening all coming together.

    The next two songs, more rather medleys, return to the standard bluegrass of so much of the album. “The Kitchen Squirrel medley”, and a medley of two Buck Owens songs, “Before You Go” and “Let the World Keep Turning.” It’s on the Buck Owens medley we finally get to hear male vocals befitting of the Buck Owens country tradition.

    To top the album off, and going back to his humorous nature, Luberecki plays a cover version of the original Star Trek theme song, complete with the opening “Space, the final frontier,” monologue in a southern drawl, with a hint of William Shatner in there. And so, the album ends with as much as what preceded it. With forceful interplay between banjo and violin. Bluegrass, on it’s own, is a fun genre of folk music to get into, but with the humor and other genre infusions Ned Luberecki brings here, it wouldn’t surprise at all if he made a few more fans along the way.

    Key Tracks: Higher Ground, Adams County Breakdown, Take Five

  • Hearing Aide: Marco Benevento ‘Woodstock Sessions’

    Marco Benevento is the latest artist to record his Woodstock Sessions at Applehead Recording in Woodstock. The live album, recorded in a single take in front of a sold out studio audience with his band consisting of Karina Rykman on bass and Andy Borger on drums, features tracks spanning his career – from “Bus Ride” off his debut album Invisible Baby through the entire title suite from The Story of Fred Short.

    The album kicks off with Marco giving the audience his permission to dance as he jumps into “Dropkick” off The Story of Fred Short, setting the tone for this often bouncy and highly danceable set of music. While the pièce de résistance is the entire “The Story of Fred Short” suite, the 22 minute opus spanning styles, the instrumental tracks “Bus Ride,” “Coyote Hearing,” and “Greenpoint” all show off the band’s musical talent. He returns to the bouncy dance music with “At the Show” to close out the album.

    While the band is tight and musically talented, Benevento’s vocals are a bit lacking and almost a distraction. However, they aren’t enough of a distraction to prevent this from being a fun collection of tunes. Any Marco fan is sure to enjoy the album, and new listeners can hear a great career-spanning collection of his music. Woodstock Sessions will be released on Feb. 17.

    Marco Benevento is currently on tour. He plays New York City’s Brooklyn Bowl tonight followed by The Hollow in Albany tomorrow night. He’ll also be at Higher Ground in nearby South Burlington, Vermont on Saturday. After a few more shows in the Northeast this month, he heads west starting in late-March.

    Key Tracks: Dropkick, The Story of Fred Short, Bus Ride, Coyote Hearing

  • Hearing Aide: Left Hand Shake ‘8-Track Mind’

    Left Hand Shake 8-Track MindOne day, I was given the task of reviewing this album, a debut, no less, from a band I had no idea what to expect from. All I got was a set of audio files from the album 8-Track Mind, and a brief description of Left Hand Shake’s members, David Decker and Blaze Sepowski, and the previous projects they’ve been involved with, featuring names like Bang Zoom!, Picture This, and Bottle of the Dog. Initially, I thought this would just be something I could sit through and move on.

    Even the album cover itself led me to think anything could be inside. It’s of a suit with an old speaker where the head should be with an 8-track of the album loaded inside. Upon further research, I saw it was named album of the year by WVCR, the radio station for Siena College. Okay, I thought. College-age people like this. I finally got around to listening to the album, which started off with the various synth noises of “F.S.B.” until 45 seconds in when the slow drumbeat and guitars finally kicked in. And from there, I was hooked.

    The album comes across as a breath of fresh air because it delves into a particular genre I don’t think gets enough credit: dream pop. There are definitely artists nowadays influenced by this particular underground scene, M83 comes to mind, but it’s rare to see an act fully embrace the mindset. The mid-tempos that put listeners in a state of bliss. The sweeping, soaring guitar lines. The echo-y vocals less concerned with singing clear lyrics and more with being another texture of the song.

    In terms of extent of what Left Hand Shake is willing to do, it’s on the second song, “Being There (Django).” Along with the ethereal 80’s dream pop guitar work happening, there are also hints of violin and a mandolin underneath. Of it’s eight and a half minute runtime, the last five are purely instrumental. And it’s not only more guitar work that gets to shine, there are harmonica, saxophone, and trumpet solos dispersed in that time. And oddly enough, though it sometimes feels it goes on for too long, it all works in making the dreamy atmosphere stick.

    There are also songs that tone down the dream atmosphere considerably. “Right Hand Shake” reminds me of “She Bangs the Drums,” by the Stone Roses, with the similar guitar tones and echo-y vocal work. “Fly” is pretty much a condensed version of the longer songs, but notably more down to earth.

    In terms of shortcomings, I’d say Decker and Sepowski get a bit too experimental with their instrumentation. The songs that are 7 to 8 minutes long have a good chunk made up of solos that serve only to continue the state of euphoria. “People Like,” starts off sounding like a dated 90’s industrial act before it really gets going. “Fabreeze” has a muted trumpet solo while “Path Less Taken” essentially ends with a violin solo taking up the last third. The lyrics, when you can make them out, at times come across like they’re trying too hard. Lines like “Life is a garden, I’m sowing all the seeds, when something starts to grow, it comes out as weeds” (“Fly”). And “People like you, people like me, we can change the world” (“People Like”) Then again, lyrics were never the emphasis of this genre.

    So, if you’re a fan of the works of The Cocteau Twins, Slowdive, and Lush, give Left Hand Shake and 8-Track Mind a chance. We should look forward to whatever efforts these guys have planned in the future, if they continue this direction or move on to something else.

    Key Tracks: Being There (Django), Because/Second Hand Shake, Fly, Iced & Alone

    Listen to Left Hand Shake 8-Track Mind below.

  • Hearing Aide: Seth Yacovone Band ‘Shovel Down’

    The red-bearded guitar slinger from Vermont, who cuts his teeth in the cozy confines of Nectar’s, reunited with his band to release a new record. Yes, after 12 years, the Seth Yacovone Band finally put music to tape and set it free for the world to hear this past December. The band, drummer Steve Hadeka and bass player Alex Budney, has been playing live again together for the past few years. But when his bandmates bought him studio time for his birthday, it was time for Yacovone to finally reenter the world of recorded music.

    Yacovone picked the shovel up for Shovel Down, a workingman’s rock album that digs deep to satisfy all of your rock cravings. What your favorite track is will depend entirely on how you like your rock cooked.

    If you like it grooving and jammy, you’ll dig album-opener “Playing Patterns.” Zappa fans will gravitate toward “Caveman Guerrilla,” where Yacovone delivers it’s off-the-wall lyrics like “I’ve got the wherewithall of a Neanderthal” with a Zappa-like cadence punctuated by angular guitar blasts. “Falling on Deaf Ears” will not fall quietly to those that enjoy their rock with a pulsating melodic blues and Gov’t Mule fans will find a lot to like in the power trio blues jam “A Question Mark to Answer.” For those that like to enjoy it with their head on a swivel and their devil fingers raised high, “The Snake” descends into the depths of metal, complete with speedy runs down the fretboard and slithering reptilian lyrics. “Mr. Reed” will appeal to anyone who wants their rock raw, anthemic and fist-pumping while “Open the Door” bookends the album with more of that groovy funk.

    For those that just want to hear some quality guitar playing, Yacovone has sprinkled plenty throughout this near-50 minute set that showcases a band, while quiet in the recording world, has clearly been putting the work in on the live stage.

    Key Tracks: Caveman Guerrilla, Falling on Deaf Ears, Mr. Reed