New York City based duo, Silver Relics, is Alex Sepassi and Justin Alvis. Their latest release, Generic., is anything but what the title suggests. Sepassi started writing songs and singing at the age of ten, and over the years his craft has been incorporating elements of the influences he listens to. This runs anywhere from 80’s indie rock and post-punk, to 90’s grunge. The duo’s songwriting first philosophy lends itself to this easy-listening album. The familiar song structures and melodic phrases give heed to pop-punk, while the instrumentation is rich and intriguing, with aspects of countless genres woven throughout the songs. Each tune brandishes a fun chorus, while the verses and intermittent instrumental parts hash out the soundscapes that Silver Relics build.
The production on this album is a bright spot. Sepassi has worked with New York producer, Howie Beno, since meeting him in 2016. The skills he’s honed in those years, evinced by the loaded yet not bloated instrumentals. The second song, “Generic,” opens with a cinematic string intro that eventually turns into an quasi-prog rock song with shoegaze elements interspersed throughout. Here, the verse and chorus are well defined apart from each other, and flow well in and out. While the songs are not structurally challenging or progressive, the way the atmosphere changes between these parts is noted and appreciated as a transition mechanism.
A standout song with a lot of grit, ‘Timebomb’, offers an edgier look at the band. Much of the song is unrelenting; its furious intro leads the listener into an anthemic chorus, as a beautifully effected shoegazuing guitar outlines the nuances in the chord progression. For fans of shoegaze like My Bloody Valentine or Slowdive, this album provides a shmorgishborg of tried-and-true shoegaze guitar tones that sit well on top of vintage synths and spry drums. The tenth track, “Yellow Master Motive” opens with a very intricate vocal part, performed to great effect. The opening instrumental that follows is lush and sits well behind the spotlighted vocals. There’s a lot of moving parts here, as the song slowly builds up into a rock anthem.
Overall, Generic. was an exciting listen. The energy is kept up, as Silver Relics blast out earworm after earworm while leaving traces of their influences hidden underneath the solid base of the song. The songwriting first philosophy the group took in recording this record really shows. What the songs lack in compositional variety, they make up with instrumental diversity. Huge ranges of tonality come together as a woven basket, with each influence offering an essential purpose to the whole product. Generic.is streaming now!
Key Tracks: Time Bomb, Yellow Master Motive, Wanderlust
Beak & Skiff Apple Orchards is set to host The Wood Brothers and Lake Street Dive with an incredible night of music on July 26 in the rolling hills of Central NY. Lake Street Dive is touring behind their 2018 album Free Yourself Up. The Wood Brothers, fresh off a Grammy nomination for “One Drop Of Truth,” will share the bill. Oliver Wood took time to speak to NYS Music to share the news on two new upcoming Wood Brothers albums, their new studio in Nashville, life on the road, his love for cookies and much more.
Dan Smalls Presents
Sean Nevison: So tell me about the tour with Lake Street Dive?
Oliver Wood: Oh it was awesome, and it’s not completely over. We have a few more shows left and it’s a really good pairing….if I was going to a show I’d love to go to that show!
SN: We are stoked to see you guys up here at Beak And Skiff.
OW: What a beautiful spot, we’ve done that show a couple of times and just love playing there!
SN: Are there future tour plans after these shows with LSD?
OW: We’ve got tour with Colter Wall which is in August. He’s a singer songwriter from Canada who is amazing. We have our first headlining show at Red Rocks, Colorado in September which we are very excited about.
SN: Who else is on the bill for RR?
OW: Two incredible bands are opening, Fruition and Steep Canyon Rangers. We have played RR as a support act several times over the years and we are so excited to headline. Chris and I grew up in Boulder, so that was where I saw my first concerts.
SN: So changing gears, how did you feel about the grammy nomination this year for “One Drop of Truth” as Best Americana Album?
OW: Well it was quite cool, we’ve been doing this for a long time. Sometimes you can get kinda jaded and think that stuff is rigged, which it most likely is. But it is so rewarding because this is the first album that is self produced and on our own label (Honey Jar Records). So I feel like we made the right decision, we wanted to be more independent, creatively and financially, but especially the creative part, to be able to go into your own bubble and not have anyone mess with it.
SN: Where was “One Drop Of Truth” recorded?
OW: It was recorded in two studios in Nashville, and mixed four times by different people. We recorded mostly at Studio Nashville with our buddy Brooks Sutton. We have now actually opened our own studio with Brooks, we liked working with him so much! Now we have our own production facility and it’s awesome, we’re working on a new record right now. Anyhow, it was kinda cool when we were at our most independent state and made all our own choices that we got that recognition, I think it’s a good record and I’m proud of it, I mean I think we’ve made good ones before… but man I’m really proud of that.
SN: So your new space is in Nashville?
OW: Yeah man, it’s run by our buddy Brooks, but as partners we can go in and record, rehearse and write whenever. It’s a huge luxury and it’s making these new sessions so much fun. It’s like we are our own independent artist with a little playground.
SN: This new record will be done in the new space?
OW: Yes, it will be the first one 100% in there and comes out right after the first of the new year. And we’re finishing up a live album that comes out this fall.
SN: That’s the Fillmore album?
OW: Yeah, that’s the Fillmore in San Fransisco.
SN: So you started just with your brother, tell me about your progression as a band?
OW: Well it just started as my brother and I, him on upright bass and me on steel guitar and we toured around in a little mini van. Both of us had been on other projects and this was our chance to play together which we had never done besides jamming as teenagers at our parents house. So we started doing that, made a record, got a deal and we were lucky that Chris was established with Medeski Martin and Wood so we were taken on by his management and booking.
What I brought was the songs I had from all these years of playing in other bands that I took and added some new tunes to and we did that first Wood Brothers album. A few years later, we started playing bigger stages and we said we need a third person to round this out and rock a bit more to get some sonic variety. So we hired Jano on percussion, not knowing what an amazing keys player and singer he was. He could just throw these third harmonies like it was nothing. He can drum, play keys and harmonize all at the same time, it’s like having two musicians with us. He is also just a great dude and has become part of our family.
SN: Can you tell me about your writing process?
OW: Oh man, it’s all over the place. Chris and I both have notebooks. Our favorite way to compile music is to just jam with the three of us, record it, listen to the grooves. We like to play spontaneously with each other and not worry about the song and just play. That’s been a really fruitful way to come up with music. So we cut those recordings up and we can sometimes use them for a master track or to help the writing progress.
SN: Your last live recording (Live At The Barn), I was fortunate to attend, could you talk about playing Levon Helm Studios and playing venues in Upstate NY?
OW: Boy that was amazing. Well when we started The Wood Brothers Chris actually liveed in Saugerties while I lived in Atlanta. In those early days, my brother lived not far from the barn and he got to know Amy Helm and we got very close with those folks and got invited to those rambles. I have very fond memories of playing all over the place up there: Syracuse, Buffalo, Ithaca, Saratoga, Albany, all those places are awesome! I feel like the people of Upstate are just so passionate about their music.
SN: Who do you listen to when you create and who influences you?
OW: Man there are so many of them. We get inspiration from everything like Jimmy Reed, J.B.Lenoir that’s been huge Louisiana blues guy, his record Passionate Blues we always go back to and get cool drumbeat ideas. Then there is Ray Charles, Willie Nelson, Sly Stone, The Pointer Sisters and all kinds of things we play and listen to when we set up our gear or get ready to record. A lot of cool old gospel music. Los Lobos, I’m crazy about, we are all crazy about. We run into them at festivals sometimes, but we’re huge fans. They are an American treasure, they are the best American band out there I think.
SN: So you’ve met some of your heroes and some people look up to you. What is the best wisdom you’ve received about balancing life on the road, family and your art?
OW: I’m glad you said balance. Some of these folks live the music life to the extreme and the rest of their life can fall apart. I’m not that guy, I have a family that I take so much inspiration from. So I try to keep it connected, and it is a challenge, being away is a challenge. But the wisdom I’ve garnered the last few years in being a musician, a touring one, is that creating music and performing is about connecting with people and connecting people. It is not about money or fame or accolades, it’s not about that stuff.
It’s a a huge sacrifice to be out on he road and be away from your family and you go out and you’re like what the hell I am doing, its like I’m floating. But then someone will walk up, or send an email or write a letter and say hey your music really got me through some hard times, thank you. Something like that happens and I say man it really is worth it, this really is important.
As far as words of wisdom, when a room full of people are singing together, not for me or my pleasure, but the feeling of everyone singing and being connected. It’s such a moment where we are all one and equal and joyous, that’s what it’s all about. It’s not that other stuff. I mean the other stuff can be fun but traveling loses it’s charm and money only goes so far if you even make any. People applauding you is awesome, but it’s not the ultimate part of this job.
SN: In the end you only have memories you create with people; you connected and connect with, right?
OW: Exactly, you can leave something healthy for them, to warm their hearts or connect them or if it’s a song people listen to when they are down…that is a huge thing!
SN: So just to finish with two fun questions, my friend Aurora who does marketing for Ray Brothers BBQ another Upstate venue…
OW: Oh yeah man, they wrote us the sweetest letter and we hope we can stop by there sometime!
SN: They are great folks. Her question is: what is your favorite road trip snack?
OW: Oh wow. Hmmm. That’s a great question. I’m kind of a sweet tooth guy, so I’d say just an amazing Chocolate Chip Cookie. That’s tough to beat, haha.
SN: Everyone on earth could get on board with that! Final question, do you like puppets and which is your favorite if so?
OW: Oh man, that’s so tough. I love the muppets, my whole family does. I’m actually looking at cookie monster so we will tie it in to the cookie concept and say that. Man I’m not sure why, but there is literally a blue cookie monster looking at me on my kitchen table right now. It’s meant to be!
The Village of Menands, just north of Albany, has announced their summer concert series. The concerts are held on Tuesdays, starting July 9 at Ganser-Smith Memorial Park (Menands Park). Shows go from 6-8:30pm, rain or shine. All are welcome, including families, dogs and those with lawn chairs. Food and beverages available for purchase from the Menands Fire Co.
Menands Summer 2019 concert series lineup: July 9 New York Players July 16 Oldies Show July 23 Hotshot Hillbilly’s July 30 Hair of the Dog August 6 The 317 August 13 The All Paul Show
Erin McKeown had confidence that seemed unshakable on the stage at Caffè Lena Thursday night, June 20. Erin began her set speaking about how she has to do a lot of self-work and self-building to get where she is. She spoke of how she had been outed at a young age, and her parents weren’t accepting of her lifestyle. It was a relief to hear that someone who was so strong could have moments of self-doubt.
“Sometimes,” she explained, “It is hard to look in the mirror and like what you see. Mirrors can break you back.” This led into her first song of the evening, “Mirrors Break Back,” off her album of the same name released in 2017. She changed her performance by treating the song as a poem, a spoken word piece. When she was finished, she was met with loud applause from the audience.
Erin performing a spoken word version of “Mirrors Break Back” at Caffè Lena on June 20.
The room was filled with joy, a crowd who could appreciate who Erin was and understand her background. Caffè Lena had given the LGBTQ community a safe space to listen to an out and proud lesbian performer and activist. Erin spoke openly about her life. She talked about the struggles she has had, and how she has overcome it.
Witty and charming, Erin stated that she felt like she should play songs for the Pride event that were gay, but then commented that all of her songs were. She did include an “especially gay set” for the crowd. These included songs like “Sugar in a Pie” and “Jenny.”
She also chose a song, “28,” which was about a particular time in her life – when she was 28. Erin relates it to the orbit of Saturn, which takes 28 years, and when it rolls around there is a time of upheaval and huge changes take place. “It’s not especially gay, but I am,” she said with a playful shrug as she began.
Erin switched to the piano to continue her set with the song “The Lions” which contains the lyrics, “There’s a risk, there’s a twist, to anything worth doing.” This seems to be a philosophy that Erin has carried with her through life. She has successfully produced the musical Miss You Like Hell which has won five Drama Desk awards and was named the “Best Musical of 2018” by Wall Street Journal. At the age of 40, Erin published a song book, Some of My Better Songs (But Not All of Them). She is currently working on another musical and perhaps a singer/songwriter record. Erin is someone who is constantly busy, and she seems to thrive when she has many creative endeavors going on at once.
Erin does nothing by halves. In geographic areas where there has been tension about gay rights, Erin has chosen to not avoid them as some artists have, but has made it a point to play there. She wanted to see how things were on the ground level and encourage the people fighting the good fight. For them, she wrote the song “Queer Gospel” to encourage them to persist despite the difficulties they faced.
The audience gave Erin a standing ovation, and when she returned for her encore she chose to play a song that required audience participation. Together Erin and the audience sang “Where Did I Go” with the audience filling in the chorus and Erin singing the solo verses. The Caffè was filled with voices brought together to rejoice in who they were, in whom they had bravely chosen to be despite adversities. Hands clapped in unison. On a night when it was important to come together, Erin ended with the right song.
Caffe Lena will continue the pride series next month with a performance by Jonatha Brooke on July 17th at 7 p.m. For tickets go here.
Slick Rick the Ruler was joined by DJ T.G.I.F and Giant Gorilla Dog Thing for Albany’s Alive at 5 summer concert series at its location under I-787 on Thursday, June 20. Ricky Martin Lloyd Walters, known to the world as Slick Rick and widely regarded as “hip-hop’s greatest storyteller,” is a London-born, Grammy-nominated performer and the most successful British-American rapper in music history.
The hip-hop veteran began his career in 1983, as a member of Doug E. Fresh’s Get Fresh Crew, pioneering what is today celebrated as the “Golden Age of Hip- Hop.” Recognizing the need for positive influences, Rick has devoted his time to mentoring youth on the dangers of violence. Additionally, he has partnered with various local and national organizations to raise awareness and funds for the issues impacting underserved communities.
Last weekend the annual Clearwater Music Festival, continued its amazing and rich tradition as a premier event celebrating great music and environmental awareness in our community. With a lineup that included Mavis Staples, The Wailers, Ani DiFranco and Railroad Earth, Clearwater alumni came out despite bad weather predictions to celebrate a great weekend of music and revival in Westchester county.
Day one of the festival brought amazing weather complimenting the beautiful setting of Croton Point Park. Highlights of the afternoon included intimate sets from James Maddock, and The Lone Below, as well as a Deadgrass set that filled the Dance Stage with singing and moving deadheads. Ani DiFranco welcomed in the evening with one of the top sets of the weekend, treating fans to her powerful, poetic performance – the perfect appetizer. The evenings’ main act, legendary Mavis Staples showed her audience why she is a national treasure and one of the great soul singers of our time.
Day two plagued by rain and mud did not deter fans from another fun day of music on the Hudson, and their faith paid off because in the end the weather held out. The Fatherâs Day Sunday included amazing sets from Scott Sherrard, The Del McCoury Band, and Leslie Mendleson. The weekend favorite, Railroad Earth, kept the bluegrass roots alive, treating fans to unique songs from the bands amazing catalog. Closing out the 2019 edition of the Clearwater Music Festival was The Wailers; a relaxed group of fans were treated to all the hits of the famous reggae band, closing out an amazing weekend of music and community.
Inspired by Pete Seegerâs desire to clean up the river over forty years ago, The Great Hudson River Revival initially helped raise the funds to build the sloop Clearwater, which has since become a world-renowned floating classroom and a symbol of effective grassroots action.
Hudson River Sloop Clearwater, Inc. is a non-profit organization that sails at the forefront of the nationâs environmental challenges. The revenue raised by the festival goes to support Clearwaterâs numerous educational programs and its work toward environmental and social justice.
Today, seeing the success of the Clearwater organization, one cannot imagine these achievements being possible without the Clearwater Festival. The Great Hudson River Revival has helped raise funds and served as a beacon toward raising awareness in support of Americaâs First River. And it all started more than 35 years ago, when it was but the dream of a banjo-picking folksinger.
Mountain Jam marked year 15 by migrating to Bethel Woods Center for the Arts, the site of the original 1969 Woodstock Festival. When the change was announced earlier this year, Mountain Jam co-founder Gary Chetkof shared with the Poughkeepsie Journal: “What could be more amazing than Bethel Woods and the home of the Woodstock festival… It was really just a matter of going to the promised land.”
Driving up on Friday (day two of the four day event) I turned off NY Route 17 onto 17B. Headed down this one-lane road affectionately named “The Woodstock Way,” I started to imagine what it was like in 1969 as people abandoned their cars on the road and started walking the final 10 miles to the festival. The closer I got, I could hear Arlo Guthries’s iconic “THE NEW YORK STATE THRUWAY’S CLOSED, MAN!” in my head.
Peace flag
Festival organizers took advantage of the great expanse that Bethel Woods had to offer. The box office was located on the southern perimeter of Bethel Woods in a remote field with tall grass and mud. The flashback was suddenly becoming real. After hiking up a hill toward the festival, I found myself looking out over the site of the original Woodstock. Images of 1969 started flashing before me.
I was quickly brought back to 2019 as I strolled past campers and RV’s of various sizes and shapes with glamping professionals nestled in their folding chairs, munching on BBQ, and consuming their favorite beverages. At the entrance pockets were emptied, bags checked, and metal detector wanding was carried out by security.
Phil Lesh & Friends
Mountain Jam, spelt out in 10-foot tall letters with teepee bookends, greeted me. The sound of music was immediate. The first stage I encountered was the Valley stage, a medium sized stage with a Ferris wheel parked next to it. Acts including The Nude Party, Hollis Brown and Tyler Ramsey performed there. The Valley stage also served as the location for late night jam sessions by Andy Frassco & the U.N. and Consider the Source held on Friday and Saturday nights.
Headed farther into the festival you came upon the Mountain Stage (main pavilion amphitheater) which hosted featured performers Gov’t Mule, Willie Nelson, Dispatch, The Avett Brothers, and Phil Lesh & Friends to name a few. Add to that the Terrace stage; a performance space with seats built into a hillside, VIP stage where special acoustic sets were performed by acts who had played bigger stages earlier that day, and an event gallery space. With this cornucopia of musical riches it made it difficult to chose who and where to go to listen to music. On Saturday and Sunday the Hudson Valley based band Yard Sale busked throughout the site, injecting a free form feeling reminiscent of 1969.
The vibe,
the location, the history, the people
Intended to celebrate radio station WDST/Woodstock’s 25th anniversary, Mountain Jam started as a one-day event in 2005 by principle station owner Gary Chetkof and Warren Haynes. After 14 years at Hunter Mountain the decision to move to Bethel Woods was made. A move of 70 miles from its original location at Hunter Mountain, proving to be light years away from the previous home. The vibe from the original three days of Peace and Music festival was palpable. Tie dye, bare feet, singing and dancing was the norm. A “Wish Tree,” part of Yoko Ono’s ongoing Imagine Peace art installation series invited people to make a wish; write it on a piece of paper and attach it to the tree. The on-site security and support staff wore t-shirts with Peace Patrol emblazoned on their backs. Babbling brooks illuminated in multi-colors, open fields and dream catchers situated throughout the site augmented the vibe.
Those in attendance ran the gamut from old to young. Parents were there with their adult children, sitting on the hillside, sharing beers together while new parents introduced their young ones to the experience of live music. Many took advantage of the beautifully maintained grounds of Bethel Woods seaking out remote spots, allowing them to chill out and absorb the spirit that was Woodstock.
Zen moment
The Music
In addition to over 40 bands performing at this years Mountain Jam, rock and roll photographer Jay Blakesberg, know as the photographer of the Grateful Dead, shared a slide show telling presentation of his work to a packed event gallery audience. An easy to use Mountain Jam app was available to help you track of all the performers, their set times, locations, and help you plan your daily daily schedule. It also updates you to special activates happening in real time.
A highlight of the festival was Gov’t Mule’s Saturday night appearance (they played Friday night also) paying tribute to the bands that had performed at the original Woodstock festival. Warren Haynes, backed by percussionist Tato Melgar of Lukas Nelson & The Promise of The Real, opened the set with Richie Havens’ “Freedom.” The band’s set included The Who’s “Eye Sight to the Blind,” CSNY’s “Find The Cost Of Freedom,” and Sly Stones “I Want To Take You Higher.” Throughout the night Gov’t Mule was joined on stage by special guests including Lukas Nelson, and Arleigh Kincheloe and Jackson Kincheloe from Sister Sparrow and the Dirty Birds. They ended the evening’s tribute with a blistering encore of Jimi Hendrix’s “Voodoo Child (Sight Return).”
Rain did find its way to the
festival late Saturday night and sporadically on Sunday, but with all stages having
protective covering (the amphitheater has a permanent roof over the seats) the
music never stopped. Being the 50th anniversary of Woodstock, who
wouldn’t have expected it to rain at some point. After a successful four days
and establishing a new location, Mountain Jam has secured the future of Peace
& Music in the Hudson Valley.
Gov’t MuleToots & The MaytalsLukas Nelson and The Promise of The RealThe Avett BrothersAmy HelmThe RevivalistsMountain Jam coupleSister Sparrow & The Dirty BirdsAlison Krauss & Union StationBella’s BartokJoe Russo’s Almost DeadThe Big Takeover
Michael GlabickiBethel Woods securityAllman Betts BandDispatchMichael Franti & SpearheadFather and sonThe Commonheart
Hasty Page and their official release party for Things To Do Before I Die is set for June 21 at The Linda WAMC’s Performing Arts Studio located in Albany NY. Tickets are $12.00 and the show kicks off at 8:00PM. The band will be continuing to support their new album with dates slated through the summer.
It’s been two long years since the Queensbury based alt/indie rock power trio Hasty Page has released new recorded material. Fans will be pleased to know that the wait is over with the release of their second full length LP Things To Do Before I Die, which dropped yesterday, June 20. This 11-track gem is a great follow up to their last release, Distance, and features tasty hooks that give the listener a whole lot. Hasty Page is comprised of Josh Morris (Lead Vocals/Drums), Zane Agnew (Lead Guitar/Vocals), and James Paolano (Bass/Vocals). The band was formed in 2015 and has sound that is reminiscent of such acts as The 1975, Nothing But Thieves and Pearl Jam.
Morris and Zane Agnew began playing acoustic duo shows around New York’s Capital Region, where they honed both their playing skills as well as their songwriting. A few months in, close family friend James Paolano was added to the roster on bass to fill out the trio. Since then, they have been playing regularly out in the Capital Region at The Hollow Bar + Kitchen, Jupiter Hall, and even made the trip down to the Rockwood Music Hall in NYC.
Things To Do Before I Die starts out in a very unique way with its first track “Sleep.” The tune is a mellow trance inducing intro that perfectly matches its title. The song features heavy synth and overdubbed vocals that paint a warm spacey dreamscape for the listener. The track quickly crescendos into a shockingly climatic vocal command, “GO TO SLEEP!,” after which the number abruptly ends. The second track, “Wake Up,” is a jolt back to reality that relies heavily on guitar, featuring a tasty musical hook. The song is a sort of call to arms, that lyrically challenges listeners to wake up to the problems that surround them in the world. Morris’ vocal chant, “One in ten of us all pretend,” eludes that people need to take a hard look around themselves and shake off the trance that they fall into while living their mundane everyday lives.
“Body Shots” is a guitar driven groove fest that highlights both Agnew’s funky guitar playing and Paolano rock steady bass beat. The song is upbeat and perfect for playing out live. The band is tight on this number and the boys are playing to their strengths, drawing on the experience that only a live performance can provide. It features catchy lyrics that reference drinking and sports, a beat made for getting out on the dance floor and moving your feet. “Body Shots” is one of the strongest pieces on the LP.
Perhaps the most radio friendly track on Things To Do Before I Die is the seventh track “Vices.” The single opens with an orchestrated synth introduction that is reminiscent of The Kings Of Leon and effortlessly transitions into Morris’ infectious vocal. The melody and chorus on this song are so pleasing that it makes perfect sense; Hasty Page would commit their time and energy into creating an expensively produced video for the tune. Although “Vices” features less of Agnew’s signature guitar sound and drifts more into the musical direction of pop, it is a catchy number that is memorable and is destined to be a fan favorite.
Back in 2008, the entertainment industry watched as decades of history burned to the ground. At 4:43 am on June 1, 2008, a security guard on the backlot of Universal Studios Hollywood noticed flames erupting from a rooftop on the set known as New England Street. Hundreds of firefighters tried to extinguish the blaze, but poor water pressure and damaged sprinkler systems hindered their ability to do so. Eventually the fire reached one of the most important buildings on the lot, Building 6197, otherwise known as, ‘the video vault.’
The video vault was home to videotapes, film reels, and a library of master sound recordings owned by Universal Music Group. A master recording is the original recording of a piece of music, the source of how we listen to everything today. The recording industry is a business of copies, and copies of copies. With each copy that is made, some of that original sound is lost as the audio is converted between formats. The massive fire destroyed almost everything in the vault, including the masters for an estimated 500,000 song titles, recording sessions, multi-track recordings with the instruments still segregated, and recordings that have never been released.
“A master is the truest capture of a piece of recorded music. Sonically, masters can be stunning in their capturing of an event in time. Every copy thereafter is a sonic step away.”
– Adam Block, former president of Legacy Recordings
The catalog of masters destroyed includes music of countless legendary artists spanning across multiple decades. Artists like: Steely Dan, Duke Ellington, Judy Garland, Tom Petty and the Heartbreakers, Neil Diamond, Ray Charles, R.E.M., Guns N’ Roses, Patti LaBelle, Eric Clapton, Sonny and Cher, and hundreds more. Some of Aretha Franklin’s first appearances on record when she was a teenager, tape masters for Billie Holiday’s Decca catalog, and Nirvana production masters with songs no one has ever heard were all destroyed. In a tweet, Nirvana bassist Krist Novoselic said he believes the Nevermind masters are “gone forever.”
Billie Holiday, 1946. CreditPhoto Illustration by Sean Freeman & Eve Steben for The New York Times. Source photograph: William Gottlieb/Redferns/Getty Images.
This took place eleven years ago, why are we just hearing about the master recordings now? For months afterwards news surrounding the fire, most importantly the vault, was heavily covered by media. However, majority of the coverage referenced the film recording damages, and eventually it was written off as crisis averted. UMG avoided bad publicity by ensuring most of everything that was lost was digitally backed up, or that it was only copies engulfed by the flames, and the masters were at a different facility in Pennsylvania. It wasn’t until New York Times released an extensive article which included information from legal documentation of the fire from a 2009 lawsuit UMG filed against NBCUniversal, who owned the warehouse where these relics were stored; that the news about the lost music became more public.
Artists were not even made aware that their masters were destroyed until the Times article. Attorney Howard King told LA Times that some artists effected will be seeking legal action against UMG, saying: “This has a potentially huge impact on [the artists’] future, coupled with the rather disturbing fact that no one had ever told them that their intellectual property may have been destroyed. There is a significant amount of discussion going on, and there will be formal action taken.”
Brooklyn based funk outfit, Lettuce, has been one of the pioneers in modern funk and jam music. The band’s skill and taste, combined with their ability to blend historic and popular music aesthetics together puts them in the spotlight for aspiring bands. The spotlight is nothing new to Lettuce and they are perpetually growing a global fan base. In fact, members Adam Deitch (drums/percussion), Adam “Shmeeans” Smirnoff (guitar), Erick “Jesus” Coomes (bass), Nigel Hall (keyboards/vocals), Ryan Zoidis (saxophone) and Eric “Benny” Bloom (trumpet) have been doing this for 25 years, scoring Grammy’s and working with some of the biggest forces in music such as Ahmir “Questlove” Thompson, Kanye West, and Stevie Wonder, to name a few. It’s no wonder the glamor for more original Lettuce music after a three-year wait was at an all time high. That time has come with their new album, Elevate.
The opening track, “Trapezoid” walks the listener in slowly, offering a close listen at the eccentric synth patches featured. Soon enough, a dark, unrelentingly ‘dub’ bass shatters the ground underneath the lush combination of squeaking synth, ambient whistles and palm-muted guitar. Deitch’s live drums are performed with machine-like technical skill. That is, until the unmistakably Lettuce horn lines kick in. Absolutely huge melodic phrases are composed with ease into tighter chorus hooks and are climaxed right before a colossal bass drop. While there is a chance that mashing up elements of trap, dub, funk, ambient and hip hop could go wrong, Lettuce navigates each mood change with confidence and expertise. The band’s grasp of their song’s structures at large is most easily seen by their ability to essentially re-write “Trapezoid” at the end of the album in “Trapezoid Dub.” There’s much more music to go before that arc is completed, but it is something to keep in mind when considering the magnificent flow of the album.
Something Lettuce does as well as anything else is write true funk tunes. “Royal Highness” is a great example of this, with simple yet effective instrumentation coming together with well-organized rhythmic grooves blooming into a great dance tune. This instrumental leads in for the 60’s Ethiopian funk song, “Krewe,” which features arguably the best sax solo on the album. This track has a nice blend of high-energy rhythm with darker but upbeat instrumentation; an intriguing juxtaposition.
The cover of Tears for Fears’ “Everybody Wants to Rule the World” is a fresh take on a classic tune. Lettuce brings the song out of its comfort zone, adding a swing, along with a more compelling instrumentation. The vocals make their debut here and do a great job of adding flavor and depth to the song, outside of simply holding down the famous melody. The bass really shines and punches along the deep end, supporting the layered vocals and the occasional soaring flute line.
Flourishing trumpet fanfares and melodic horn phrases find their rhythmic soulmate in “Larimar.” The bass heaves along with a parallel guitar line, yielding a thick baritone guitar feel without sacrificing density. This song hits in two halves; the first half being a funk groove with attitude, which transitions into a cheekier outro groove. The instrumentation remains largely the same keeping the experience of the song isolated, but still very unique in its progression. “Love Is Too Strong” is a blues rock song, heavily influenced by the gospel and blues of the 60’s, but with some more 70’s styled mixolydian guitar solos and tones. The vocals are a highlight here as well, offering a strong, resonant lead melody with a raspy blues aesthetic, with accents and emphasis being added by a backing gospel choir.
There’s a lot in this album in the way of genre, evinced by the Brian Eno/J Dilla inspired ambient hip hop instrumental, “Purple Cabbage.” Lettuce flexes their creative muscles here. The output is an atmospheric soundscape, which acts as the backdrop for an echo-laden layering of guitars to sputter around an unmistakably potent beat from Deitch. The horns, which maintain a strong presence throughout the album, remain front and center for much of the tune, stabbing right at the heart of the melody hidden in the backing soundscape the band creates. Running at just over nine-minutes, this song is steeped in timbre of all sorts. Listeners will be able to find something completely new with each listen.
To be clear, this is the case with the album as a whole. Such a diverse selection of songs can be tough to wrangle into one concise piece of work, yet Lettuce does just that. The band transforms constantly from the start to end. Their final song “Trapezoid Dub” is a different version of the first song on the album, which is hardly noticeable unless looking at the track titles. Once you notice though, it becomes apparent that the framework for both tunes are the same, but Lettuce has managed to create an entirely different listening experience. A shining example of the band’s ability to adapt and reimagine.
They change, while remaining just enough of the same Lettuce, that fans have known for all these years. The improvisational aspect is not lost among the composition, and the experimentation takes front seat just long enough for each tune (and the album in general) to have an unexpected but fulfilling arc. It’s not enough to say, “keep an eye on Lettuce.” Rather, this album marks the opportunity to appreciate their determined foray into seemingly unrelated genres and pull out exactly what pieces best fit their sound. Mesh those into tracks that are not only stunning, but also a whole lot of fun.
