Category: NYC Metro

  • Wu Tang Wednesday: Nas, Raekwon and Ghostface deliver “Verbal Intercourse”

    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 Cruel fits 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 Wednesday: Nas, Raekwon
    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.

    with Maxwell Amankwah contributing

  • Indie-Rockers Gooseberry release catchy summer anthem “The Protagonist”

    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.

  • Rich Girls Defy with New Single, “The Fighter”

    NYC-based art punks, Rich Girls, released their single “The Fighter,” an anthem of low-key defiance. Frontwoman Luisa Black shares her thoughts on what the song means.

    “Fuck bigots, it’s all I thought about this year. If it’s about anything, it’s about that.”

    Photo Cred: L. Black

    Rich Girls combine British art rock polish with primitive energy of American garage. Black started the band as the solo recording project after the breakup of her San Fran garage band The Blacks. It evolved from series of dark pop demos Black wrote while living in London.

    A steady stream of EPs cemented the Rich Girls high/low sound and found a small following in unexpected outposts across the UK and Europe. Rich Girls live create a big, urgent sound out of minimal elements. All proceeds from Bandcamp digital purchases of the single will be donated to the Southern Poverty Law Center.

  • The Next Great American Novelist Release New Single “Drag”

    The Next Great American Novelist, an indie rock band from Brooklyn, released the new single “Drag” from their upcoming album Careless Moon

    “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.

  • Sunday Jazz: listen to a 2009 performance of The Earregulars at Manhattan’s The Ear Inn

    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.

    the ear inn

    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.”





  • Watch Bobby & The Midnites coast to coast video for “(I Want to Live in) America”

    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

  • Paul Loren Releases New Single “We’ll Be Together Again”

    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!

  • Jeremy Beck & The Heavy Duty Horns Release New EP Take Me By The Hand

    NYC Based Band Jeremy Beck & The Heavy Duty Horns dropped their Take Me By The Hand EP on June 26th. The four song EP has a soulful, gospel, jazzy sound. Band leader Jeremy Beck has roots in rural Alabama and New Orleans. These roots influenced his music and sound greatly which can be heard throughout the EP.

    The Eight piece band decided to release their EP amidst COVID-19 and the fight for racial justice and equality in the United States. They understood the implications of releasing this EP during a pivotal moment for civil rights in America with it’s soulful, gospelly, and jazzy roots. “In a musical context, Black music has created what we know as American music. Without the great Black musicians, artists and writers, plain and simple, American music would not exist.” Beck explains, “So much of the music I’ve played and produced throughout my career has been directly inspired by Black musicians and I will be forever grateful. Growing up in Alabama and during my time in New Orleans, Black music and culture molded me into the musician and person I am today.”

    Jeremy Beck & The Heavy Duty Horns. Photo provided by Jeremy Beck & The Heavy Duty Horns press release.

    The EP includes the title track, “Take me by the hand” and then the love  song “Oh Baby!.” The EP wraps up with the upbeat, high tempo, song “Somebody Call Frank,” and ends with “Sing Hallelujah,”about a perfectly imperfect love. This Ep marks the first compilation of songs credited to a band composed of sidemen who have cut their teeth playing with big names like Bonnie Raitt, Sharon Jones & The Dap Kings and Missy Elliot.


    Take Me By The Hand is out and available everywhere now. For more information on Jeremy Beck & The Heavy Duty Horns visit their website or their official Facebook page.

  • Jazz at Lincoln Center Streams Ellington’s “Black, Brown, and Beige”

    Blue Engine Records, Jazz at Lincoln Center’s music label, has released Black, Brown, and Beige, their first release dedicated entirely to famous jazz composer Duke Ellington.

    Photo from Wikimedia Commons Public Domain

    Jazz at Lincoln Center’s in-house recording label, Blue Engine records’ Black Brown and Beige is a recording of a live Rose Theater performance in 2018 by the Jazz at Lincoln Center Orchestra. Wynton Marsalis, the center’s managing and artistic director, says: “Black, Brown and Beige sits alone in the history of jazz. It covers a mosaic of not just Afro-American but of American styles of music.” 

    Born in 1899, Duke Ellington was a master jazz composer and musician for several decades and was an important figure during the Harlem Renaissance. He thought of his music not only as jazz but also “beyond category,” and he wrote pieces that influenced American music for the greater part of a century. He led the best-known orchestral jazz group of all time. Composer Percy Grainger even wrote that “The three greatest composers who ever lived are Bach, Delius and Duke Ellington.” 

    Black, Brown, and Beige, which includes nine tracks in total, originally debuted at Carnegie Hall in 1943 while Ellington was still alive. Elliot called it  “a parallel to the history of the Negro in America.” It is a notable work in both African-American history as well as that of all American orchestral compositions.

    Jazz at Lincoln Center is happy to release a present-day recording of the piece that does Elliot’s greatest work justice and makes it digitally available to countless people today. Blue Engine Records’ mission is to feature both past and present works that make up an entire canon of music to bring old and new fans of jazz together.

  • This Darkness has got to give: Music Venues in July across New York State

    It is now July 2020, the fifth month with minimal, if any, live music performances throughout New York State, let alone the country. Our venues are not yet open, but as the threat of COVID-19 decreases, parts of New York will enter Phase 4 and beyond, with the hope that live music will return, even if gradually.

    While we may be stream weary, the prospect of live music is a motivator for many, and staying safe is the key given that New York and much of the Northeast are faring better than other areas of the country.

    Photo by Buscar Photo

    From viewing these photos taken during mid-late June, we can see the presence of the Black Lives Matter protests that spanned all 50 states. In all corners of New York there were protests, particularly in New York, protests that continue to push for defunding of the NYPD.

    Working with 13 photographers to document more than 60 venues in 20 cities across New York State, NYS Music presents the second edition of our monthly series that looks at the current state of our beloved venues. When the venues reopen, we will share photo documentation recording the changes over time in all corners of the state.

    Immense thanks goes out to all photographers and venues who are taking part in this monthly series. We’ll start this month in the Capital District, with a drone montage from Zach Culver, covering the venues we long to return to, sooner, rather than later.

    Manhattan and Brooklyn – photos by Joseph Buscarello

    Hudson Valley – photos by Mickey Deneher

    Saranac Lake – photos by Pete Mason

    Long Island – photos by Andrew Camera

    Rochester – photos by Brian Ferguson

    Plattsburgh – photos by Jerry Cadieux

    Manhattan – photos by Jamie Huenefeld

    Utica – photos courtesy of The Stanley Theatre

    Port Chester – photos by Chad Anderson

    Ithaca – photo by Casey Martin

    Lake Placid – photos by Pete Mason

    Long Island – photos by Rob Tellerman

    Tarrytown and Peekskill – photos by Steve Malinski

    Buffalo – photos by Zachary Todtenhagen