Long Island based pop-punk band, Card Reader, released their newest single, “Sore Eyes,” in honor of the loss of a close friend to lead vocalist Tom Petito.
(From left to right) Guitarist Marc Lambert. guitarist/vocalist Tom Petito and drummer Rob Cigliano.
“I wrote this song after I lost a close friend. The message is resounding: life is short, any day could be your last so don’t settle for less. Go after your dreams unapologetically,” said Petito.
Card Reader made their first appearance to the music scene earlier this year with their debut single and music video, “Familiar Voices.”
Petito, drummer Rob Cigliano and guitarist Marc Lambert worked with other bands for 10 years until Petito wanted to start his own project and formed the trio. Petito said the creation of the band was to put passion at the forefront.
Card Reader has struggled since live music has been put on halt, but are determined to get their EP released by fall.
The band’s motto states, “believe in yourself unapologetically. Don’t settle for anything less than what makes you happy in life and in music. Surround yourself with people who believe in you and put your own stamp on what being in a band means.”
Being part of a team is great; when you’re part of a successful one – like Wu Tang Clan – even better. Yet, there may always be that inkling of wonder of what could be accomplished by oneself. For musical acts whose contributions to the world are dissected and compared to one another, that one little thought may be enough to isolate said artist from the group, not to mention the monetary differences between a solo artist and being part of a group.
Ego has played a part in the demise of many great factions — the likes of New Edition, NWA, The Fugees – they’ve all fallen victim to the individualistic desires of man. Yet, when tamed, this possibly destructive force can be channeled into producing some of the greatest albums in history. Bobby Brown’s Don’t Be Cruelfits in that mold, so does Ice Cube’s Amerikkas Most Wanted. This was also the case for one of the greatest Hip Hop albums ever. Raekwon’s Only Built 4 Cuban Lynx set the tone for a genre of mafioso themed albums that took the 90’s by storm.
Failing to distinguish himself from some of the other charismatic members of the Wu Tang Clan, the man known as “The Chef” was motivated to go out and make himself a classic body of work. And on August 1, 1995, Only Built 4 Cuban Lynx set a new standard for rap. The album received a 4.5 mic rating from The Source magazine (at the time, hip hop’s Bible). While the Method Man and Ghostface Killah assisted “Ice Cream,” was the LP’s most successful record, album cuts like “Verbal Intercourse” are what set the tone for the project. The twelfth track features a young Nas on the heels of his own soon-to-be classic, Illmatic, as well as Wu Tang mate Ghostface Killah – who plays a supporting role in the mafia movie themed album. Considered one of Nas’ best verses (which is saying something), it also stands as one of the greatest opening verses in history.
Wu Tang Clan – a tough act to follow
Nas sets the tone for the record early, rapping:
Through the lights cameras and action, glamour glitters and gold I unfold the scroll, plant seeds to stampede the globe.
When I’m deceased, by then the beast arise like yeast to conquer peace leaving savages to roam the streets.
With his newfound fame and fortune from his individual success, his principles haven’t changed, as he still plans to take over the world. And after he has long passed, he hopes to have planted enough seeds in the minds of the youth to bring about a revolution. A Queensbridge legend long before platinum albums, Nas’ lyrical aptitude was as shocking as his youth, as he was barely 21 at the time of this recording.
With ‘God’s Son’ written across his stomach, Nas looks to accomplish everything he prophesized.
On the second verse, Raekwon deliver’s a high-quality opening bar of his own.
Perhaps bullets bust, n**** discuss mad money true lies and white guys, we can see it through the eyes. Catch the most on tape, kilos disintegrate Pyrex pots, we break, fiends licking plates.
While Nas’ verse pertained to his yearning for a mental uprising, Raekwon keeps with the album’s theme. Describing the dangers that come with operating on the wrong side of the law.
On the song’s last verse, Ghostface Killah – maybe the most charismatic of the three – adds to the story, Further detailing the greed, jealousy, envy that comes with monetary success, with hopes of a light at the end of the tunnel.
With the green leathers, hundred-pound snakes and cakes. Fiends found in lakes, jealously jakes we shake. What I strive for is what I live for. Infatuated by material things in this wild life of war like somewhere over the rainbow, I see a big pot of gold.
“Verbal Intercourse” is defined as “conversation between more than one person.” But in this case, you could say they went a step further and f***ed the beat. The album featured every rapper in the Wu Tang Clan besides ODB, so Raekwon didn’t completely deviate from the already winning formula. Still, as the creative mastermind behind the LP, it helped Raekwon continue to establish himself as his own entity, outside of his groupmates. Debuting at number four on the Billboard charts, Only Built 4 Cuban Lynx sold 130,000 copies its first week, and while not a single, “Verbal Intercourse” saw each respective rapper plant seeds towards their now legendary status.
Brooklyn-based indie rock band Gooseberry has released their new single “The Protagonist.” The four-piece band met through mutual friends in the Brooklyn music and comedy scenes. After months of intermittent jam sessions in a makeshift apartment studio the Gooseberry Band became official in Fall 2019. The band consists of Asa Daniels (guitar/vocals), Colin Ashen (drums), Sam Rappaport (keys, vocals), and Will Hammond (bass).
Their mix of indie rock, blues, and R&B captures each member’s interests. Sam Rappaport brings the R&B flavor, inspired by the greats like Donny Hathaway, Stevie Wonder, and D’Angelo. Will Hammond leans more towards the indie scene, rock and folk. Asa Daniels bridges the gap in-between, having grown up playing jazz and blues and learning licks from heroes like Thelonious Monk, Eric Krasno, and Stevie Ray Vaughan. He has been pursuing music for nearly a decade, having had some early success with his band, Baked Goods.
Their first single “Berkshires” (listen below) goes back to major influences like D’Angelo, Donny Hathaway, and Stevie Wonder, while their newest “The Protagonist” showcases a more alternative/indie sound in the styles of the Foo Fighters, Courtney Barnett, Arctic Monkeys, and Spoon. Before the pandemic, Gooseberry had a biweekly residency at Harefield Road in Brooklyn, where they were steadily growing a devoted audience around their live shows. They had been gigging fairly regularly in and around New York City, running the full gamut of venues from The Cobra Club to DROM to house shows across the boroughs.
Asa Daniels shares his story on how he came up with “The Protagonist”:
This song started out as a little earworm that I couldn’t quite shake. I’d sit in my apartment in my little makeshift studio and play for hours and end up back on this tiny melody, and each time it would grow. A little more power here, a little distortion there. Before I knew it, there was this thing, this song, and the lyrics just fell into place. The Protagonist is a little about how we are all the lead actors of our own movies, and a lot about smiling as you lose control. The song’s title is tongue-in-cheek, but I’ve always been fascinated by points of view, the idea that we really are all the centers of our own universes, and so on. There’s a joke that those close to me know I always make. It usually comes after an impassioned speech from a friend, a major cultural event, or just a story told by someone else. It’s most effective after there’s a lull of awkward silence. I’ll usually think pensively for a moment, then look at someone and say, ‘Right, but how does this affect me, the protagonist?’ While I’m generally looking for laughs when I say that, underneath the statement is a question that I think a lot of folks are grappling with right now as the country is rife with pandemic, civil unrest, and political rancor. We may each be our own protagonist, but the story is empty if it involves no other characters. It’s important to care for one another, speak out for one another, help one another. Especially as things spiral, often beyond our control.
In response to the first six months of this “rollercoaster year,” Ben Folds has written a new single “2020.”
The song expresses Folds’ take on 2020. “We seem to be currently reliving and cramming a number of historically tumultuous years into one,” he says. “For a moment it was all about the 1918 pandemic. Then we began seeing hints of the Great Depression before flipping the calendar forward to the Civil Rights protests of the 1960’s. Running beneath this is the feeling that we’re in the Cold War, while seeing elements that brought us to the Civil War rearing their head, making us wonder if we’ve learned a damn thing at all.”
At the start of this year, Folds was on an orchestral tour of Australia. However, it was cancelled due to the pandemic, and is set to continue in 2021 along with his US tour. Since quarantine, Folds has been working on his next album, the sequel to his 2019 New York Times best selling memoir A Dream About Lightning Bugs, and other new creative projects.
Folds notes that the current sense of accelerated time is not only “personally disorienting,” but “also artistically disorienting.” The single is about that, how so much seems to happen each day that topics can be “out of date or even inappropriate by noon.” “2020” touches on the fact that this year seems like several past years crammed into one.
Despite today’s stress, Folds optimistically hopes for a better 2021 to come. “2020” is available for streaming now.
“Drag” was written before the countless changes of the past few months. The song explores the pre-pandemic ‘normal,’ but doesn’t paint it as being perfect. It looks into the monotony of life.
“I love New York City, though, some days it feels like a dysfunctional landscape of ill-routine. Living here, you realize you’re functionally necessary but of small significance or importance within the larger enterprise. I’m immersed in a series of habits: standing in line, getting on a train, heading to work, buying coffee, buying booze… Are these choices I want to make or am I just keeping the machine going?”
Sean Cahill, Songwriter.
This will be the band’s second album after I’ll See You in the Art You Love, released three years ago. The Next Great American Novelist, or NGAN for short, wanted their music to be something that could be enjoyed best live, by all sorts of people. Art You Love delves into depression with an emo-folk sound. Careless Moon includes songs that will “make sense live.” Atwood Magazine, who debuted the album’s first song “Blackberry,” notes that that the band’s new songs have “a heavy alternative sound that simply wasn’t present in NGAN’s previous repertoire — and yet, this growth feels natural and exciting.”
The upcoming album comes from a place of joy rather than sadness and is marked by their new sound. Despite the band’s evolution, fans will still be able to recognize NGAN in Careless Moon from their three-part harmonies and meaningful, storytelling lyrics. It explores the relationship between romance and indifference. The two can coexist at the same time within one symbol.
Watch The Music Video for “Drag” Below:
Cahill has gone through ups and downs with his relationship with music. Yet he realized that it is his calling. “For a while I felt guilty about playing music, playing shows, as if it was a shameful or self-serving pursuit,” he tells Atwood. “After some reflection, I’m realizing that music is the best way I can spend my time, as it brings more light into the darkness and opens up an avenue for sharing joy.” Cahill eventually met Helm and Cummings through a “chance encounter,” and the three then formed NGAN through a shared music taste and interest in becoming creative collaborators.
Atwood reports that Careless Moon is “bigger, edgier, and more alternative; an unabashed outpouring of raw dynamism. The Next Great American Novelist are ready to be your Next Favorite American Band.” “Drag,” along with “Kubler,”“Baby Duck Song,” and “Blackberry,” are available for streaming now.
Manhattan’s historic The Ear Inn has played a pivotal role in the music scene and beyond. It’s the oldest bar in New York City that has continuously served alcohol since 1817. Check out this recording of The Earregulars, from November 2009 via JAZZ LIVES.
The Ear Inn has a very unique history after being open for two centuries. It dates back to a time where there was African aide to George Washington and The Ear served as residence for John Adams and Aaron Burr, among others. The Ear Inn was nicknamed by patrons as an untitled bar (“The Green Door”) for obvious reasons. As a result, the bar is listed on the National Registrar of Historic Buildings.
Go ahead and enjoy these video selections of The Earregulars performing at The Ear Inn on November 8, 2009. The videos feature a plethora of musicians: Jon-Erik Kellso (trumpet), Matt Munisteri (guitar), Harry Allen (tenor saxophone), and Neal Miner (string bass). They also include Victor Herbert’s “Indian Summer” and Louis Armstrong’s swinging anthem of reproach, “Someday You’ll be Sorry.”
WEQX has long been the preeminent independent station in the Capital Region of New York, broadcasting from Southern VT to a ever-expanding listening audience. Each Sunday evening from 7-9pm on 102.7 FM, you’ll find EQXposure on WEQX, featuring two hours of local music from up and coming artists. NYS Music will bring you a preview of artists to discover each week, just a taste of the talent waiting to be discovered by fans like you.
Warden & Company is a three piece band from Saratoga made up of Seth Warden, Doug Moody, and Brian Melick. They have been playing together since 2011, having started off as the backing band for local Irish music legend Kevin McKrell. The trio have also performed together as Seth and the Moody Melix, playing children’s songs written by Warden who is also a teacher. Warden & Company showcases the trio’s more ‘adult’ sound.
Jay was born and raised in Vermont and currently lives in Burlington. He says he’s been a fan of EQX since he was a teenager. “Grow Again” is his latest single, find him on Facebook and listen to more of his songs on Soundcloud.This is his latest.
It’s the Fourth of July and if you’re looking for some patriotic music from the 80s, well you are in luck. We’ve got Bobby and the Midnites “(I Want to live in) America” music video from 1984, a video celebrating diversity and the global oneness of all people, united through our daily struggles and love for America.
But if you’re looking for a sound similar to that of the Grateful Dead, look at virtually any other Dead side-project and it will be closer than Bobby and the Midnites. The poppy/yacht rock sound of “(I Want to Live in) America” seems better suited for pre-Sports Huey Lewis and the News than Bob Weir’s short lived pop effort.
Filmed in Brooklyn with the Twin Towers of the World Trade Center behind the band, as well as in California with cars bouncing up and down the streets, the coast to coast vision for the video feels like a generic 80s video. Written by Weir, John Perry Barlow, Bobby Cochran and Gerrit Graham, “America” feels like an overarching effort to get radio play in an era where the Dead went seven years between studio releases.
Joining Weir on this album were fusion drummer Billy Cobham, who recorded with Miles Davis and Mahavishnu Orchestra, bassist for Little Feat Kenny Gradney, and future Rockabilly Hall of Famer Bobby Cochran. You’d think that all this talent would translate to something big, but instead we get an oozing song and accompanying video full of early 80s cheese.
Still, the lyrics are uplifting and positive, referencing dreams, surviving, and refugees living on a level playing field in America. Watch the video and live version below and share your thoughts on Bobby and the Midnites in the comments.
All this hometown history is slippin’ away Shattered by a miracle age I’m gonna roar through the night on a fantasy flight As soon as I come of age When the dream ignites, there’s a flame so bright Burnin’ in a young man’s heart Get your hands on the wheel of some Detroit steel You can hear the music start
I’m telling you I want to live in America I want to live in America
Have you ever been down south of Chinatown Seen the face of a refugee The kids are alive, they’ve learned to survive They’re just like you and me All their friends back home wonder what it’s like alone Living in the land of the free It’s another way of life, rev it up and take a ride Realize your dreams
I’m telling you I want to live in America I want to live in America
Where the electric guitars ring out loud It’s the heartbeat of the steet Where the engines scream and the music’s mean I just gotta feel the heat
I’m telling you I want to live in America I want to live in America
Where the electric guitars ring out loud It’s the heartbeat of the steet Where the engines scream and the music’s mean I just gotta feel the heat
I’m telling you I want to live in America I want to live in America I’m telling you I want to live in America I want to live in America
It’s not too often you see the Grateful Deadopening for another band, especially not in the 1980s. But on July 4, 1986, the Grateful Dead linked up with Bob Dylan and Tom Petty and the Heartbreakers for one of only four shows together that summer, performing at Rich Stadium in Orchard Park, NY, home of the Buffalo Bills.
The Pittsburgh Post-Gazette characterized the show on the 4th of July perfect for “The Dead’s vagabond odes and Dylan’s outspoken songs of freedom.” Sweltering heat during the day led to a first set that was cut short, but rain during “Cold Rain and Snow” to start the second set provided respite for the crowd. Perhaps out of exhaustion, fans were reported to have left after the Dead encored with “U.S Blues.”
While the Dead opened, a trio of songs were featured in a satellite broadcast live to Farm Aid 3. Prior to “The Wheel,” Bob Weir said to the crowd “America is an example of an agrarian nation, let’s keep it turning.”
Six days and two shows later, Jerry Garcia slipped into a diabetic coma and was unconscious for a week, but would recover and be back on stage later that year. This show at Rich Stadium would be one of the last times the Dead would perform in New York for nearly a year, before returning to Rochester on July 2, 1987.
Setlist, Grateful Dead, July 4, 1986, Rich Stadium, Orchard Park, NY
Set 1: Jack Straw, Dupree’s Diamond Blues, CC Rider, Tennessee Jed, My Brother Esau, Touch Of Gray
Set 2: Cold Rain & Snow-> Fire On The Mountain-> Samson & Delilah*-> The Wheel*-> I Need A Miracle*-> Uncle John’s Band-> Drums-> Gimme Some Lovin’-> Goin’ Down The Road Feelin’ Bad-> Turn On Your Love Light
Encore: U.S. Blues
*broadcast as part of Farm Aid 3
Dylan and fellow Traveling Wilbury Petty joined up for a tour featuring the Heartbreakers backing Dylan. Dylan played a few solo acoustic songs, while the Heartbreakers played their hits that are still classics today, and all joined together for “Rainy Day Woman # 12 & 35.”
Bob Dylan with Tom Petty and the Heartbreakers, July 4, 1986, Rich Stadium, Orchard Park, NY
Set: So Long, Good Luck And Goodbye, Positively 4th Street, Clean Cut Kid, Emotionally Yours, Trust Yourself, We Had It All, Masters Of War, Straight Into Darkness (Petty & The Heartbreakers), Think About Me (Petty & The Heartbreakers), The Waiting (Petty & The Heartbreakers), Breakdown (Petty & The Heartbreakers), To Ramona (Solo acoustic), One Too Many Mornings, (Solo acoustic), A Hard Rain’s A-Gonna Fall (Solo acoustic), I Forgot More Than You’ll Ever Know, Band Of The Hand, When The Night Comes Falling From The Sky, Lonesome Town, Ballad Of A Thin Man, Bye Bye Johnny (Petty & The Heartbreakers), Make It Better (Forget About Me) (Petty & The Heartbreakers), Spike (Petty & The Heartbreakers), Refugee (Petty & The Heartbreakers), Rainy Day Women # 12 & 35, Seeing The Real You At Last, Across The Borderline
New York singer-songwriter Paul Loren has released his new single “We’ll Be Together Again.” Loren was raised on the rich legacy of soul, classic pop, and the Great American Songbook and in those musical idioms he feels most at home.
Loren has been keeping himself busy writing new music and entertaining fans via his weekly live stream, “The Leisure Lounge featuring Paul Loren” which can be found on his Facebook and Instagram pages. He is thrilled to share one of his ‘quarantunes’ written with his dearest family, friends and fans in mind. “We’ll Be Together Again” offers hope and solace in the difficult times that we are now living in.
The Huffington Post described him as: “The dashing and retro-chic crooner whose songs bring a modern edge to lounge-era pop.”
The song was written during the first week of the New York City COVID-19 lockdown, unsure of when I’d get to see my loved ones again. I love those old WWII-era songs like “We’ll Meet Again” and “I’ll Be Seeing You,” and thought the referential nod to another difficult time in our history felt right. It’s a mission statement of sorts. We WILL be together again, even though circumstances are unpredictable—it’s about creating something sure in a very unstable climate. Amid times of uncertainty and separation, it is a song of hope and optimism.
Paul Loren
Check out this stream and more through our series NY Stream and Support, where you’ll discover artists around the Empire State streaming nightly, and ways to support musicians and charitable groups close to home!
