Taylor Swift announced her new album, Folklore, to be released at midnight on July 24. This comes as a surprise to virtually everyone: no one, including her fanbase (the Swifties) who are known for their outlandish conspiracy theories, expected the move, and nothing leaked ahead of time. Folklore is arriving less than a year after Taylor Swift’s last album Lover, breaking her schedule of releasing an album every two to three years.
Surprise 🤗 Tonight at midnight I’ll be releasing my 8th studio album, folklore; an entire brand new album of songs I’ve poured all of my whims, dreams, fears, and musings into. Pre-order at https://t.co/zSHpnhUlLbpic.twitter.com/4ZVGy4l23b
Although her last three efforts have been fully pop, Folklore appears to be taking a more acoustic direction. Whereas Lover’s color scheme was pastel pink and blue with fantastical Wonka-esque music videos, all of Folklore’s visuals are black-and-white. The album’s only featured artist is Bon Iver on the song “Exile,” and Aaron Dessner of The National co-wrote 11 out of 16 songs.
Taylor Swift previously explored a stripped-back folk sound on “Safe and Sound,” her single with The Civil Wars for the first Hunger Games soundtrack in 2012, as well as on her album Red released later that year. Fans have begged for a Stevie Nicks or Joni Mitchell-inspired album for years, and they may have finally gotten their wish. While not a New York native, Taylor Swift moved to the city before the release of 1989 in 2014. That album’s opening song was “Welcome To New York,” and she revisited the city on Lover’s “Cornelia Street” and “Daylight.”
While Folklore hasn’t had an accompanying lead single announcement, Taylor Swift is releasing a music video for the song “Cardigan” alongside the album. There are eight collectible CD and vinyl covers in total, reminiscent of the four different diaries she released alongside Lover last year.
The music video for “cardigan” will premiere tonight, which I wrote/directed. A million thank you’s to my brilliant, bad ass video team – Cinematographer Rodrigo Prieto, producer Jil Hardin, executive producer Rebecca Skinner, AD Joe ‘Oz’ Osbourne pic.twitter.com/2hNXnzFbwY
Taylor Swifts’s last six albums, including Red and 1989, all debuted at #1 on the Billboard 200 chart. This time around, she’s facing competition from longtime rival Kanye West, who’s also releasing an album this week called Donda: With Child. Folklore has already sold 250,000 copies in China, and time will tell if she continues her #1 streak in the U.S.
For more information visit Taylor Swift’s website.
Falling Water have release “When Will We Be Saved,” their first single since 2014. Led by Long Islander Mark Rechler, the rock band wrote and recorded the song from a distance while in quarantine. The lyrics are about navigating chaos, specifically through the current pandemic, and dealing with feelings of anxiety and loneliness.
Clocking in at nearly four and a half minutes, “When Will We Be Saved” is an anthemic power ballad. Despite its conception in quarantine, it sounds engineered for lighter-waving at a physical concert. Its backup singers, busy instrumentation, and dramatic lyrics also evoke a number from a rock opera. While the song has a lot going on, its standout is the piano, which has a solo at the halfway point. The song’s lyrics begin rather pessimistic, but the band ultimately comes to terms with the new circumstances. “Now the angel of death, well she’s having a feast / changes are forced by this ominous beast” becomes “I’m gonna kick back and let it all go” in the outro.
“‘When Will We Be Saved’ is a true quarantine song,” said singer-songwriter and pianist Mark Rechler in a press release. “My whole life is trying to keep up with my to-do list, get stuff done, complete tasks. I have often said out loud, ‘If we could only get a time out for a month to catch up on all these projects, everything would be fine.’ Well, like a bad Twilight Zone, that gift was granted. During the first two months of quarantine, I found myself riddled with anxiety, exhaustion, and much fear […] ‘When Will We Be Saved’ is more about isolation and finding your best self in that quiet, lonely world.”
50% of the song’s profits will go to the PLUS1 COVID-19 Relief Fund. PLUS1 works with nonprofits such as Sweet Relief, Center for Disaster Philanthropy, World Central Kitchen, Partners In Health, and Trans Lifeline to support vulnerable communities. So far, the band has achieved over $8,500 of their $10,000 goal. Other artists who have partnered with PLUS1 include Arcade Fire, The National, St. Vincent, and CHVRCHES.
Falling Water plans to release their next full-length album in 2020. Stream “When Will We Be Saved” here:
Senators John Cornyn of Texas and Amy Klobuchar of Minnesota introduced a relief bill known as “Save Our Stages” on July 22. The bill will support struggling venues during COVID-19 pandemic. If approved, the bill will provide six months of financial support to small independent music venues through the Small Business Administration.
The bill was announced via a press release from Klobuchar. The proposed bill would help keep these venues afloat so they can pay their employees and help preserve the critical economic sector they provide for communities across America. The proposed plan would provide small venues with amounts less than 45% of a business’ operation costs from 2019 or $12 million depending on the venue’s revenue. The bill states estimates of $9 billion in losses if ticket sales can not resume until 2021 in the music industry. “Small live music and entertainment venues have been hard-hit during the coronavirus pandemic, with 90 percent of venue owners, promoters, and bookers reporting they are at risk of closing without additional financial assistance” the press release states. This program would be similar to the previous small Business Administration grants through the Paycheck Protection Plan but focus on small independent venues. The proposed funding could be used by recipients for rent, utilities, mortgage obligations, PPE procurement, payments to contractors, regular maintenance, administrative costs, taxes, operating leases, and capital expenditures related to meeting state, local, or federal social distancing guidelines. The bill is trying to get $10 billion in SBA grants.
The bill comes on the coattails of the “Restart Act” which focused on businesses with high overhead and no revenue during the pandemic which included venues but wasn’t specifically about them. Senators Cornyn and Klobuchar felt the need for a bill that focused on venues in particular. “Minnesota’s concert halls, theatres and places of entertainment, like First Avenue in Minneapolis, where Prince famously performed, have inspired generations with the best of local music, art and education,” Senator Klobuchar said in a statement. She explained that, “This legislation would help ensure that small entertainment venues can continue to operate and serve our communities for generations to come.” Senator Cornyn echoched these feelings saying that, “Texas is home to a number of historic and world-class small entertainment venues, many of which remain shuttered after being the first businesses to close. The culture around Texas dance halls and live music has shaped generations, and this legislation would give them the resources to reopen their doors and continue educating and inspiring Texans beyond the coronavirus pandemic.”
The “Save Our Stages” act is supported by the National Independent Venue Association (NIVA). NIVA has an action campaign with a prewritten letter to legislators that people can fill out supporting the “Save Our Stages Act.” The prewritten letter explained the need for the bill saying, “Venues are experiencing upwards of 90% revenue loss and will be closed well into 2021 due to safety concerns posed by large gatherings. Without support from Congress, 90% of NIVA’s independent venues across America say they will be forced to close their doors forever.This would also take a toll on our local economy. Independent music venues are economic multipliers, community builders, and beloved institutions.” The letter can be found here.
For more information visit the Save Our Stages website and read the press release here.
If you are in or near Putnam County this weekend and are looking to get rocked, you are in luck. Almost Queen will perform at Tilly Foster Farm in Brewster, ready to bring an authentic Queen experience to Downstate NY.
Fronted by Joe Russo (no, not that one) Almost Queen is the most authentic Queen live show since the days of Queen themselves. A deliberate four piece band, Almost Queen delivers a live performance showcasing signature four part harmonies and intricate musical interludes. Donning genuine costumes, they recaptures the live energy and precision that is the ultimate Queen experience.
Doors open at Tilly Foster Farm at 6pm on Saturday, July 25 for the 8pm show. Please wear a mask and follow social distancing guidelines at the venue. Get tickets here.
Endicott Performing Arts Center will share a live production of the iconic Broadway musical and film, The Music Man, July 24th – 26th. Family entertainment at its best, The Music Man centers on River City, where a fast-talking salesman gets his heart stolen by the town librarian.
Through EPAC digital, a new online platform, the Southern Tier venue will continue its mission of bringing high quality performing arts to a broad community at an affordable price. With EPAC digital, productions from EPAC Repertory Theater Company, both old and new, will be available for purchase, including Tempest 3000 and Songs for a New World.
This virtual concert version of “The Music Man” will be available on EPAC Digital Friday, July 24th at 8pm, Saturday, July 25th at 8pm, and Sunday July 26th at 3pm. Tickets can be purchased here.
Originally written for Broadway by Meredith Willson, the EPAC production of the six-time Tony Award-winning musical comedy The Music Man is directed by Connor Gates, with musical direction by Paula Bacorn and choreography by Kate Fabrizio. The local cast of performers features Matt Gaska as Professor Harold Hill and Jana Kucera as Marian the Librarian.
Wu Tang Clan have long been innovators within hip hop culture, whether it came from their music, style, or their lingo. Before the masses draped themselves in popular streetwear like Supreme, V-Lone and Bape, Wu Wear occupied that space within the streetwear community. Always the trendsetters, this was the first of many clothing lines by rappers. Its impact was worldwide, as each article of clothing was designed to showcase the most iconic logo in the history of hip-hop, the infamous Wu Tang Clan “W” which combined their love of kung fu and hip-hop.
A unisex clothing line, Wu Wear offered a variety of fleece jackets, long sleeve t-shirts with graphics, crew necks along with sweatshirts — all of which donned the iconic logo. While RZA is regarded as the group’s de-facto leader, the idea for Wu Wear stemmed from Oliver “Power” Grant, a close associate of the groups who has executive produced every Wu-Tang Clan album.
In 2008, they faced a counterfeiting scandal, hurting the brand’s credibility. Consumers were under the assumption that they were getting ripped off with fake clothes that they were paying a lot of money for. The brand has since bounced back and has made a relaunch to their website. Partnering up with the likes of Nike, ALIFE and other popular clothing brands.
To recognize the brand’s cultural significance, RZA recorded a song titled “Wu-Wear: The Garment Renaissance.” which was included on the High School High soundtrack, as well as RZA’s greatest hit album. The record also features Wu tang affiliate Cappadonna and Method Man.
Method Man’s laid back and rhythmic hook (along with his charisma and style) gave the record much needed flavor that balanced RZA’s scientific flow and lyricism.
“Ain’t what you want baby
It’s what you need baby
Ain’t what you want baby
It’s what you neeeeeeeed”
Setting a calm and relaxed tone (which was needed) before RZA began his verse. The famed producer begins the record with a breakdown of what makes Wu garments unique, and why it had been deemed a renaissance for streetwear.
“Yo, diamond crystal rings sharp like icicles, nickel plated pistols
official Wu-Wear covers my physical”
RZA begins his verse describing the jewelry and diamonds that cover his body, concluding with Wu Wear as a way of associating the clothing brand with the valuable jewelry he dons.
“You can detect the true and living God from the score
Keep your sword straight, maintain your weight
But he ate too much monosodiumglutumate, and polysorbate
and drug rate concentrate, with sodium benzoate
By the chicken thighs and tryglycerides
And this bitch advertised her breast size
Eighty-five didn’t realize, til the truth opened up his eyes”
He begins to breakdown all the things that is poisonous to body and wellbeing of his body and of others. He is also referencing the “five percent” teachings when he speaks on searching for the God within. The five percenters focus on how the Black man is the original man and how they are Gods on the earth. That’s why it’s important to keep and maintain your health from many of the substances in this society that destroy your mental and body, which RZA references while also discussing his recent wealth. He refers to is as “chicken” that fattens his thighs which in tun, leads women to show their “breast size,” a clever play on words. He finished the bar off by letting the masses know that he was once one of the 85% until he searched for his own truth.
“Then he became highly civilized,
and spent time amongst the wise,
went through a garment renaissance
and stopped wearing Benetton, Tommy Hill, Perry Ellis, Nautica,
or Liz Claiborne, Ocean Pacific, Fila, Bill Blass and leave fitted
Quit the Armani sweaters with the Gucci wool knitted
Mecca, Pelly Pell, 88, North Q, Bear and a few others
For the new year, strictly Wu-Wear
Once he opened up his mind, he spent time with wiser men and gained a greater understanding of his purpose. His garment renaissance came when he stopped wearing name-brands clothing and focused his efforts on the success of Wu-Wear and other Black owned clothing brands. With the renaissance signifying
While the theme remained the same, Cappadonna’s verse was much more straight-forward, relying less on philosophical references.
“The Century 21 son, the new portfolio dunn
Now it’s my time, Asian Wu-Wear, Cap and fleece wear
One wear plaids the Don will hold the best for all wear
plus blue wear, Wu-Wear, what’s going on
We’re the best of this year, Wu-Wear and fleece wear”
While RZA focused on the meaning behind his beliefs, Cappadonna spent more time detailing his exploits as a well-dressed man, aligning Wu Wear with other recognized name-brands.
“Just hold your own baby
and just rock on baby
I got this wine on my mind
feelin fine darlin
Now all you see baby
ain’t what you need baby
I wanna know just how low it goes
Official nasty asses, straight shots in dirty glasses
Wu-Wear fleece for you and your stinkin piece
Hard time and killer tactics”
Known for having more crossover appeal, Method Man took a took a different approach to his verse. Unlike the others, he demonstrated how the allure of the clothing line can be used to allure women, a major point of contention for most men.
The record sampled The Soul Children and their 1972 single “Don’t Take My Kindness For Weakness,” spending 17 weeks on Billboard charts and peaking at number 20. While it served as great promotion for the clothing line, it also showcased the diversity that made Wu Tang Clan so iconic. There’s knowledge-of-self and wisdom from RZA, “fly talk” from Cappadonna, and the smooth slickness of Method Man.
Wu-Tang having their own clothing line and iconic logo has been ingrained in the fabric of hip-hop since the brand came out. They were innovators taking their interests and creativity outside of music and making it into a business to profit off of other than just recording music. You can say this was the model for artists such as Notorious B.I.G and Bad Boys records, Jay-Z and Roc-A-Fella records, rapper Camron and his Dip Set clothing line and Kanye West with his Yeezy brand.
Companies have also used rappers to promote their companies clothing lines such as the rap group Clipse with Bape and the late Tupac Shakur with Versace. All of this can be traced bac to the Clan and their influence on the culture.
Spoor’s song “City Angels,” promotes a feel good attitude, during a time that many of us are struggling emotionally because of the pandemic.
“The idea I had was that during this time of isolation and separation, I thought we could use more joy,” Spoor said.
Growing up in Denver, the young musician is now based out of Brooklyn. She has played at several famous music venues like, Sunny’s Bar in Red Hook and Rockwood Music Hall.
Spoor completed her first national tour last fall through playing small performances in unique locations with the well known music events start-up, Sofar Sounds.
Spoor’s website describes her as an “old soul,” who possesses similar sounds to Joni Mitchell. That part of her personality comes out in the music video where she created a collage of pictures and video clips sent to her by friends and family. The collage promotes memories and a cheerful outlook on life in the city.
According to her Youtube page, Spoor wrote “City Angels,” after experiencing a lonely day in NYC. Her mood changed after running into a few, “New York characters.”
“All these very human moments made me feel like I might belong after all. So, this video is dedicated to them- the city angels that make us feel like we’re home in this exciting, scary, beautiful place called New York,” Spoor wrote.
Hallie Spoor asked her friends and family to send her nostalgic pictures and video clips.
NYC’s Hudson River Park is bringing the fun into our homes. Ideal for the bored quarantiner, their Virtual Summer of Fun program offers weekly concerts, fitness classes, STEM lectures, and children’s events. Streaming for free on Facebook Live, there’s something of interest for every age and music taste.
Hudson River Park
Hudson River Park’s concert series, Sunset on the Hudson, streams every Thursday at 7:30 p.m. It launched on July 9 with The Big Takeover, a seven-piece reggae band from the Hudson Valley, and is continuing weekly until September 3. On August 27, twin DJs Coco & Breezy are taking the stage. Also known for designing luxury eyewear, their pieces have been worn by the likes of Prince and Lady Gaga. All Sunset on the Hudson performers are local, and the full list reflects a variety of genres and backgrounds.
“While the world has changed, Hudson River Park remains committed to bringing the joy and excitement of summer to old and new friends from New York City and beyond” said Madelyn Wils, CEO and President of Hudson River Park Trust. “Summer of Fun programs offer more than just education and enjoyment – they provide our community with a way to connect with the Park, their favorite local talent, and each other.”
Besides the main concert series, the Summer of Fun is also hosting Sunset Salsa on Tuesday nights at 7:30 p.m. Led by Talia Castro-Pozo, who appeared on The Today Show, each event begins with instruction and leads into an hour featuring world class dancers and DJs. And for the jazz-inclined, Annette A. Aguilar is performing with her band StringBeans on Thursday, September 10. Aguilar has previously played percussion for Stevie Wonder and The Grateful Dead.
The Park’s Hudson RiverKids program runs until the end of August. At 4:00 p.m. every Mondays, a new weekly guest leads a singalong, magic show, or story hour.
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!
Roll on In will present their live entertainment series Drive-In and Tune In beginning on Friday July 24. The events will deliver the premier destination for a night out of live music and will feature local BBQ and food legends while staying true to the roots of Western Massachusetts.
Roll On In stresses the idea of safe live entertainment and has gone through extensive planning over the past months with the help and partnership of industry pro Joel MacKenzie. The weekly, Friday and Saturday evening events will go above and beyond the health guidelines to reduce the spread of COVID-19.
With large gatherings banned for the foreseeable future, fans of musical theater and full-band live music are on the search for musical fulfillment and interesting story arcs. Enter the concept album- a perfect cross between long-form storytelling and studio recorded music. Albums like The Who’s Pinball Wizardand Green Day’s American Idiot hold their place on the pedestal of great rock operas. Over time, fans of musical theater have seen soundtracks becoming more contemporary. Musicals like Once and Hamilton make for otherwise great studio soundtracks to listen to apart from their visual stories. It’s a tall task for bands and composers to be able to write soundtracks in this long storytelling form. One NYC based band is doing it right here, combining catchy tunes with technically brilliant songwriting and performances.
The Ninth are a dynamic, often changing group of musicians. Ben Halperin (Guitar, Songwriter), Tim Russell (Vocals/Keys), Stephanie Genito (Vocals), Tim Galvin (Drums), and Jeff Ostroski (horns) make up the core of the group. The talented crew of musicians have two stellar studio works in their catalog, The Answer(2018) and Olympic Dream/Nightmare (2019). For the most part both combine elements of funk rock and musical theater. The outcome is wonderfully groovy and incredibly intricate. Catchy hooks unify every song, keeping the listener coming back.
The Answer
To begin with, The Answer isa short and sweet trio of songs clocking in at just over 10 minutes. The group’s propensity to uniquely combine the minutiae of classic rock, funk, and R&B is showcased in this initial release. Funky beats match with masterfully crafted bass lines to drive the songs and provide a delightfully dance-able groove. For instance, huge brass and string parts mesh well with the core-band. This gives each song a sense of grandeur.
Vocalist Tim Russel steals the show with his soaring vocals. Meticulously performed guitar and bouncing bass reinforce the technical expertise that the band possesses. Guitarist Ben Halperin remembers how the songs acted as a jumping off point in the first place. He recalls “We were just getting our bearings and feeling out our sound…we love those songs, but there isn’t anything to them other than that we thought they were good and ready.” Halperin had been working on something special however, before the band had even assembled.
Olympic Dream/Nightmare
The Ninth released their first full album Olympic Dream/Nightmare in October 2019. The album tells the story of the Nancy Kerrigan and Tonya Harding Olympic scandal. Ultimately the story was adapted and written by Halperin. The songs were also written in collaboration with the band over time. Halperin’s wife had recently opened his eyes to Broadway, theater performance, and all the possibilities the medium presented. The album idea came quick.
Having watched the Hardy/Kerrigan debacle unfold as a child, and after watching an “ESPN 30 for 30” special years later, Halperin was inspired to write about the event. He focuses especially on a couple main themes. One being how difficult it is to achieve lofty goals. The other about the damage public judgement can have on a person. Together with each other, these themes are of principal focus in the lyrics. Album in hand, Halperin started to put together his troupe.
Halperin was able to assemble an incredible crew of musicians including the likes of Broadway pit performer Jeff Ostroski, who played trumpet and also arranged the horn parts for the album. Adding in musical theater performers Tim Russel and Stephanie Genito on vocals gave the project’s lineup an extra kick. Consequently, they were outfitted to sound like a Broadway ensemble. The Ninth’s music consistently exudes influence in funk rock and jazz. The band’s consistency in genre lends to their tight-knit sound. With the clear album topic and a great sound in mind, the project could move forward with a common goal.
Putting it All Together
The re-imagination of such a dynamic event allowed the group to leverage emotional complexity to create large compositions that reflect such bittersweet themes. The real life story is about as wild as any Hollywood script. Particularly, The Ninth do a great job of capturing the chaos and beauty of the story. Every track is a roller-coaster, with highs and lows dominated by the intricate composition and wonderfully crafted lyricism.
Halperin remarks that “almost the entire first half of the album comes back some way or another in the second half.” For instance, “the title song introduces themes that recur in Limelight and Oksana, with Limelight also having a Trailer Park reprise.” Everything ties together splendidly, despite the long story arc. No strangers to big studio projects, the band offers up hit after hit.
Halperin mentions specifically how “the emotion and characters translated well to the funk and rock music that I love.”
Full brass and string sections give each song a larger-than-life feeling. This is something that the band strives to deliver. Songs such as “Saving Grace” and “Trailer Park” provide character introduction and juxtaposition between two of the story’s main characters. Namely, the band uses different vocalists for each character. Each vocalist offers a magnificent performance on their tracks and also mesh well together in harmony.
The guitar work shines marvelously throughout the entire work. Halperin matches tone to every small part of the story thus acting as a sort of narrator in the story. He provides a magnificent performance all around. Cory Wong-styled funk lines opposite soaring solos. Generally the guitar foretells the mood of the song. A sleazy funk song like “Crowbar” emulates the Jeff Gillooly character wonderfully.
Successes and Challenges
Although projects of this size don’t come together easy. It was great preparation and a solid cast of musicians that helped Olympic Dream/Nightmare come out so well done. Halperin mentions that it wasn’t so much the undertaking of the music that made the recording a challenge. He says “making music in a great studio with great musicians always has and always will be a complete pleasure.” The band recorded everything Steely Dan-style. Putting painstaking detail put into each instrument’s recording and layering is a point of pride. Indeed, the hard part was the scheduling and financing. This was no rush job, and it shows with the final product. Everything was meticulously planned and executed.
Playing Live and The Pandemic
It’s no surprise that the group has a big live sound too. They have played some of NYC’s iconic venues such as The Bitter End. Their tight grooves keep live renditions of their songs dance-able and exciting. High energy is a big defining characteristic of The Ninth. Together, this unrelenting powerhouse of a group can perform with stellar execution. “Boy do I miss crowds”, Halperin says. Specifically those crowds including musicians who are digging the music.
The off time has been ultimately slow for the band since everything is shut down. For instance, Halperin has kids and a day job. Consequently, with no access to child care right now it’s tough to focus on music. Though he is optimistic about the future. He says “we’re itching to perform once it’s safe.” In the meantime, he says the band has new music to record. Otherwise, he is available to help out with other projects, and is available to write if anyone has an idea and needs music.
