To support the #SaveOurStages foundation during the pandemic, artist Phil Robinson today releases a video for his song “Transcendental Cowboy” from the renowned The Bitter End venue in New York City.
Phil Robinson
Robinson’s live performance is another in his efforts to fundraise for live music venues that have suffered astronomically throughout the pandemic. In September 2020, he created, hosted, and performed in the “Save The Bitter End!” livestream fundraiser. It ended up raising over $24,000 towards The Bitter End’s $100,000 GoFundMe campaign, and ensured the venue’s April 9, 2021 reopening.
In addition to his venue fundraising efforts, Phil Robinson has organized and performed livestream events that benefit the NAACP Legal Defense Fund, local food banks, and more.
“Transcendental Cowboy (Acoustic)” is out March 31st via Phil’s label Roomful Of Sky. His debut album Through the Middle is set for release later in 2021. His soulful rock music is a balm for the struggles of the pandemic, garnering comparisons to Cat Stevens and Bruce Springsteen.
Robinson shares: “‘Transcendental Cowboy’ is usually my encore song – it gives audiences the chance to yell at the top of their lungs, so it’s always a lot of fun to play live! I thought it’d be a great fit for the #SaveOurStages campaign because it highlights that LIVE engagement between audience and performer that we all live for. Performing the song in an empty venue as I do in this benefit video highlights exactly what’s been missing this past year and what we hope to get back once the pandemic’s over and our music venues can hopefully re-open.”
It’s been over a year since music venues had to shut down, and signs of life are starting to be seen this spring. With the passage of the COVID relief bill, which provides $15 billion for music venues across the country, small businesses are able to breathe a sigh of relief. Warm weather allows outdoor venues, both new and old, to utilize space to accommodate socially distanced shows while we wait for the country to get vaccinated and infection rates to subside
photo by Joseph Buscarello
Looking back on the February installment of this photo series, we can see the seasons changing and venues coming to life, if not getting a facelift. By the time we bring you the next edition, we hope to see fans in the crowd and venues back to business, with a greener summer to come.
A list has been circulating on Facebook recently, one well worth sharing. As you check out the current state of venues across New York State, courtesy of NYS Music’s photography team, consider these rules moving forward for the post-pandemic live music scenes across New York and the country.
RULE #1: No guest list. Don’t ask. Not now. Not ever. Everyone in the live music industry has been out of work for 13 months and we all need your support now more than ever. Buy the damn ticket.
Rochester – photos by Corinne Cummings
RULE #2: Support local. Before you buy that high priced ticket to see that big name artist at that big corporate venue, consider putting that money back into your own community. This is the best way to ensure that a thriving arts & culture scene will return to cities across America.
RULE #3: Wear a damn mask. If you’re going to a show, tiny cloth go over mouth & nose. Period. Vaccinated? Don’t care. Already had it? Don’t care. Rona is a hoax? Also don’t care. We only get one shot at restarting this machine. Please don’t be the one that messes it up.
RULE #4: We are not babysitters. We get it. Social distancing sucks. Masks suck. You’re tired of washing your hands. After more than a year of isolation, all you wanna do is lean in close and spew your spittle on friends and strangers alike. But it’s been 13 months. You know the rules by now — please follow them.
RULE #7: Support the scene. Can’t make the show? No problem. It costs $0.00 to support us in other ways. Share the posts. Listen to the music. Invite your friends to the event page. In order for this to work, we need all hands on deck.
RULE #8: Be kind. Look — it’s been awhile. We’re gonna be a little rusty. Plus, so much of what needs to happen in order to bring back live music safely is new for all of us — fans, venues, promoters and artists alike. There will be hiccups. There will be lines. There will be unforeseen circumstances. Be nice anyway.
Plattsburgh – photos by Jerry Cadieux
RULE #9: Go to the merch table. Support the artists. Buy the t-shirt. Buy a sticker.
RULE #10: Have fun. You’ve been waiting for this moment for more than -fully. Come out early. Stay out late. Dance. Laugh. Make a new friend. Discover a new band.
Albany photographer Zach Culver went on a road trip this month and shares his photos of venues in Denver, CO and Las Vegas, NV.
On March 26th, Voorheesville-local Annie Scherer dropped her debut indie-pop album, an introspective collection of songs titled Garden Bed.
Photo credit: Sherry Kocienski
In the album, Scherer dives deep into her emotions, with each song tackling a different point in Annie’s life where she had to overcome hardship and ultimately grow as a person.
On each track, Annie takes the listener on an emotional journey, inviting them along on sonically exhilarating ride that expands as the album progresses.
We spoke with Annie and asked her a few questions about Garden Bed:
Aaron Ginsburg: The themes of your album have a lot to do with being introspective. Has COVID-19 given you time to be more introspective, and in what ways has it affected your creative process?
Annie Scherer: I’ve had a lot of time with my thoughts, which was mostly a good thing. I was finally able to relax and take a step back, which I never allow myself to do. At the beginning of quarantine, I had a hard time finding inspiration and seeking out creativity. But I also used the time I was given to find my sound and record my album. AG: What artists have had the biggest influence on you, and can we hear any of their influence in your album Garden Bed?
AS: Artists who use a lot of visuals in their songs are always among my favorites, as are those who write tangible lyrics and catchy melodies. I really enjoy alternative artists, such as Lana Del Rey and Lorde, whose influence can be heard in my instrumentation. I also love the memorable melodies of the Beatles and the Rolling Stones.
AG: As a musician during the pandemic, it must be difficult to get the same quality of outside feedback on your work due to the fact that you can’t play live and can’t gather in large groups. Has that been a problem for you?
AS: The pandemic has forced us to rely on social media, which is not a great way to get feedback. I never know if people are sick of seeing my promotional posts, but I don’t really have a choice nor do I let that stop me. Live music is nice because you’re surrounded by people who support you. It becomes a symbiotic experience.
AG: What do you want your listeners to feel when listening to your album Garden Bed?
AS: I want listeners to feel a mix of emotions when they hear my music. “Skyline” should arouse feelings of sentimentality, while I hope they feel inspired when they hear “Phases Grow.” All my songs were written to create an emotional response.
AG: What do you have in store for us next? Do you have a musical direction you are aiming to go to?
AS: I already have a vision for my next album. Garden Bed mostly consists of a brighter tonality, and lots of it is acoustic and light. The next one is likely to have darker and more minor elements. The contrast and change in theme will enrich the musical experience for my listeners.
“Andy Warhol,” a single from Garden Bed.
The tracks on Garden Bed were primarily written and produced by Annie in collaboration with David Finch, Aidan Sloppy, Kyle Robinson, Ryan Davis, Maggie Roberts, Ben Grant, Tom Evans, Brenden Beaver, Ali Genevich, Rosemary Michaud and Elizabeth Miller.
Over a period of three months, Annie recorded her vocals and digital instruments in her mother’s home. She hopes the music will resonate with listeners and inspire them to persevere through their own hardships.
You can listen to Garden Bed, as well as other work by Annie Scherer, on all streaming platforms and on her website.
Guitarist, multi-platinum-selling singer-songwriter, Rock and Roll Hall of Fame inductee, and Songwriters Hall of Fame electee Steve Miller has dug deep into his archives, now releasing the recording on both music formats such as vinyl and CD as well as a full-length video available on Amazon Prime Video.
The original liner notes by music journalist David Fricke read:
Breaking Ground captures the Steve Miller Band on stage in one of their biggest years, 1977. They were at a perfect crossroads of psychedelic zeal and progressive, popcraft while staying true to Miller’s first love, the blues.
The year 1977 was a top year for the Steve Miller Band, playing theaters, arenas, and stadiums. It was recorded at the Capital Centre in Landover, MD on multi-track tape and newly mixed and mastered by Miller and his veteran audio engineer Kent Hertz.
Pre-order the album here. For more information about the Steve Miller Band, visit stevemillerband.com. The new archive concert Breaking Ground: August 3, 1977 arrives on Friiday, May 14, 2021.
Heavy rock supergroup The Limit, consisting of former The Stooges and Pentagram members, release new single “Death Of My Soul” accompanied by a video in preparation for their upcoming album Caveman Logic – releasing April 9, 2021.
The Limit is an astoundingly fresh and hot-blooded shot to the veins that heavy rock needs in this day and age. “Death Of My Soul” sees the band go straight to the heart of rock to deliver a electric performance accompanied by some eerie visuals. The gothic mood of the track conjured forth by the intersection of all the various sounds from the band members background helps deliver a song that does the legacy of these rock mainstays justice.
This song and video is not something warm and fuzzy you can wrap your arms around and feel good about. It represents a deep feeling of alienation, loneliness, a sense of an unchangeable and Doomed timeline of life and world events.
Sonny Vincent, Musician
The Limit consists of several high profile members such as Ex-Stooges member Jimmy Recca on bass, Sonny Vincent an early NYC punk scene legend and member of Testors on guitar and vocals, Bobby Liebling from Doom Rock originators Pentagram on vocals, and Hugo Comin and Joao Pedro on guitar and drum from Portuguese band Dawnrider. The diverse range of musical influences come together and create a sound that respects the band’s Punk and Doom Rock origins while creating a whole new sound entirely.
The upcoming album Caveman Logic is set to be released on April 9, 2021, the album can be pre-ordered here.
Acid Dad have shared their new track “BBQ” off their sophomore album Take It From The Dead, due out on June 11, 2021
“BBQ” Single Artwork
The rock band hails from Bushwick and is composed of singer-guitarists Vaughn Hunt and Sean Fahey, and drummer Trevor Mustoe. Vaughn first started recording the band in his Bushwick apartment. Playing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018.
Over 2020, Acid Dad rented studio time in Queens as well as built their own guitars. They also independently produce their music. This creativity and innovation led to their second LP Take It From The Dead. The record features a variety of influences ranging from 90’s neo-psych, modern post-punk, and 70’s rock. Their sound meanders the perfect musical boundary of brand-new and nostalgic.
The new album is accompanied by psychedelic and glitchy art videos in a collaboration with video artist Webb Hunt, adding an otherworldly visual counterpart to their dreamy music.
Artwork in collaboration with artist Webb Hunt
Listen to Acid Dad and their new track “BBQ” here. Watch the visualizer for the single here. Find out more information about Acid Dad at their website.
Coney Island Baby is an album of love songs. In 1975, Lou Reed was recording it as a follow-up to the bafflingMetal Machine Music. Coming from that formless and seemingly random experiment in noise exploration—which he did because he felt like it—this record was Reed’s response to some industry pressure, along with his reminder that he was talented as they come. It was borne from necessity as Reed found himself in a difficult position at the time. His career was in jeopardy for lack of new, accessible music, and his finances were suffering.
RCA/RCA • 1976/2021
So, Coney Island Baby was the rock record he needed. The title track, also titled “Coney Island Baby,” is a breezy, stroll of a song. Thematically, the lyrics muse about the power of love to wash away insecurity and provide a sense of stability in life’s unpredictable moments. The “glory of love” is Reed’s religion. It’s been said that his muse for much of the album was his girlfriend at the time, a trans woman named Rachel Humphreys, whom he mentions by name along with his local childhood school.
“You know, man, when I was a young man in high school, you believe in or not—I wanted to play football for the coach.” Reed is right, his listeners would probably not believe it. But, he drives this memory home by mentioning it a few times. Football stars were supposedly strong, brave and popular. No one is immune to wanting to feel that way in high school, even Reed. He repeats this, giving listeners an insight into one of his main desires growing up: to be noticed.
Reed and Rachel Humphreys Mick Rock
This entire monologue is backed by a steady 4/4 beat with only a few chord changes and a couple of members of Reed’s rotating band for the record. After each verse in which he describes feeling trapped or oppressed by his environment, the song opens into a chorus with Reed repeating “glory of love.” Whereas the verses describe different situations in which he’s felt uncomfortable emotions, even hate, during life—it’s love that saves him from falling. It’s also the promise of love from a “princess on the hill” that fills his desire for acceptance.
Lou Reed may have wanted to be on his high school football team. Or maybe not. But what is true, and fascinating, is that from this song we can imagine that Reed has faced the struggle to be embraced at points in his life, and has consistently found answers in love—a deeply human experience that unites us all.
“Coney Island Baby” lyrics
You know, man, when I was a young man in high school You believe in or not I wanted to play football for the coach And all those older guys They said he was mean and cruel, but you know Wanted to play football for the coach They said I was to little too light weight to play line-backer So I say I’m playing right-end Wanted to play football for the coach Cause, you know some day, man You gotta stand up straight unless you’re gonna fall Then you’re gone to die And the straightest dude I ever knew was standing right for me all the time So I had to play football for the coach And I wanted to play football for the coach
When you’re all alone and lonely In your midnight hour And you find that your soul It’s been up for sale
And you begin to think ’bout All the things that you’ve done And you begin to hate Just ’bout everything
But remember the princess who lived on the hill Who loved you even though she knew you was wrong And right now she just might come shining through
And the -Glory of love, glory of love Glory of love, just might come through
And all your two-bit friends Have gone and ripped you off They’re talking behind your back saying, man You’re never going to be no human being And you start thinking again ’bout all those things that you’ve done And who it was and what it was And all the different things you made every different scene
Ahhh, but remember that the city is a funny place Something like a circus or a sewer And just remember different people have peculiar tastes And the –
Glory of love, the glory of love The glory of love, might see you through Yeah, but now, now Glory of love, the glory of love The glory of love, might see you through Glory of love, ah, huh, huh, the glory of love Glory of love, glory of love Glory of love, now, glory of love, now Glory of love, now, now, now, glory of love Glory of love, give it to me now, glory of love see you through Oh, my Coney Island baby, now (I’m a Coney Island baby, now) I’d like to send this one out for Lou and Rachel And all the kids at P.S. 192 Coney Island baby Man, I’d swear, I’d give the whole thing up for you
Jerry Garcia, Artist, a new documentary project from Jerry Garcia Music Arts and Malcolm Leo Productions, has just been announced. The film centers around a 1987 interview with Garcia, and also includes “never-before-seen footage of the private thoughts and reflections of Jerry Garcia,” according to a statement.
The documentary captures the Grateful Dead frontman at a peak moment, where he eloquently reflects on the life he lived and the music he loved to make. Garcia goes so far as to offer “nothing off limits” in the interview, providing a journey into Garcia’s private world. Included in the documentary are his personal musings, drawings and insights, as well as unpublished diary entries, rare family photos, home movies and newly discovered performances.
The 1987 interview was directed by Leo and filmed by Oscar-winning cinematographer Russell Carpenter at Front Street Studios in San Rafael, CA
Garcia’s family serves as co-producing for the documentary and contributed visual art and music to the project. The documentary includes a charitable component that will benefit the Jerry Garcia Foundation as well as a charity of the co-producer’s choice.
We envision an uplifting, immersive experience focused on my father’s art and music. The story is authentic. My father narrates the film in his own words, directly to the audience.
Keelin Garcia, Jerry Garcia’s daughter, coproducer, and president of Jerry Garcia Music Arts
Malcolm Leo, a producer, director, and writer has overseen a wide range of projects from “This is Elvis,” “Heroes of Rock n Roll,” “Beach Boys: an American Band,” as well as the Emmy-nominated “LIFE Goes to the Movies.”
This project is a labor of love for all involved and it is the fulfillment of a promise I made to Jerry long ago to do something special with the footage. The film will honor one of the country’s most beloved musical heroes and cultural icons.
Malcolm Leo
There is no date set for the release of Jerry Garcia, Artist. For more information on the film, click here.
Singer-songwriter Sarah King has released her debut EP, The Hour, a splendid, soulful voyage to the darkest corners of Americana. It’s the perfect showcase for her show-stopping vocals and gothic bluesy story songs, something made all the better by the smartly minimalist arrangements conjured by co-producers, Simone Felice and David Baron (The Lumineers, Bat for Lashes, Jade Bird, Felice Brothers).
photo by Arielle Thomas
The tune that will likely command the most attention is her reinvention of Black Sabbath’s “War Pigs.” This take is as slow and minimal and softly acoustic as its gets – a thumb strummed solo guitar riding an E minor drone (sorry, Spinal Tap, this and not the D minor, is the saddest of keys/chords). Even though this guitar and voice spotlight is swaddled in a cathedral’s worth of cavernous reverb, it retains a crispness and clarity, like all the tracks on this impeccably engineered collection. This cover is further distinguished by the ghostly alternative melodies King conjures, she’s like a bebopper of acid folk. There’s shades of Nick Drake, Alexi Murdoch and Blue-era Joni Mitchell in the quietude and Dolly Parton, one of her inspirations along with Adele and White Stripes, in the controlled country crack in King’s voice.
The track “Poison” has a churchy gospel vibe. Here Sarah King responds justifiably likewise to a cruel lover who can’t take what he dishes out (“I’m not bent, I’m not broken by your crimes. I gave you a taste of your medicine and you say I poisoned you”). Like many tunes on the album, there’s great texture here – tiny sonic delights barely audible in the mix like the ghostly roto-speaker electric guitar in this tune.
My personal favorite, “Nightstand,” hammers home the spooky soulful vibe. It’s a murder ballad driven by a swirly Rhodes piano, guitar crunch, Hammond organ wail, rich background vocals and gut-punch lyrics. Case in point, the chorus:
I was born with the cord wrapped around my neck It’s not something I could ever forget The world’s been trying to take me out since the day I first arrived There’s a darkness a-reaching for my hand I keep a gun in my nightstand Waiting for music to bury a body by
The funereal shuffle of “Cold Hard Ground” brings to mind the artsy country blues of Wrecking Ball-era Emma Lou Harris. It’s a minor blues articulated with a slurry snare-brushed beat, honey toned organ and minimalist piano. Co-producer David Baron, proprietor of Sun Mountain Studios in the Hudson Valley where the EP was recorded, is an analog synth collector. He adds some very outta-space keyboard swirl and ambience here, along with (possibly) a mellotron-treated vocal chorus. He’s a master of the less is more approach.
photo by Christian James
“Not Worthy the Whiskey” is a swaggering stomp-and-holler about making peace with your dark past. The tune is propelled by percussive handclaps and stomps and boasts a whistling-down-the-alley intro ala Billy Joel’s “The Stranger.” It’s another deep blue lament, ones that floats in and out like a dream.
Like much great music, King’s debut EP was born of loss. In the press notes she says: “My dog died, my ex-husband died and my mama died too. Life is too fucking short, I’d just spent almost a year traveling in a tent away from my instruments and facing so much loss, I realized I never wanted to be away from music again.”
King’s partnership with Felice came about when she sent him a shot-in-the-dark email containing a performance video of “Nightstand,” which to an invitation to record that tune and four more. We are lucky that King found the strength to put her loss into such fresh, emotionally revealing, brave music. And she’s lucky to have found, in Felice and Baron, producers who could bring her art to life is such a beautifully restrained and achingly gorgeous way.
Key Tracks: Nightstand, War Pigs, Not Worth the Whiskey
SOCIAL! is part of the Armory’s Social Distance Hall commissioning initiative, which provides artists with the space and resources to create and present to in-person audiences new works designed specifically for the tumultuous times of the COVID-19 pandemic. The Armory, with its immense, 55,000-square-foot Wade Thompson Drill Hall and multiple airy rooms and entrances, featuring an air volume comparable to being outdoor. This hall is shaping up to be the shining example of how to re-open performing arts in New York and beyond.
SOCIAL! invites 100 participants, 10% of the Drill Hall’s normal capacity, to the Armory’s Drill Hall for a socially distanced dance club, where each member will have a six-foot diameter circle in which to dance and move, spaced out from surrounding circles to provide proper social distancing at all times.
The curated playlist will include a recoding of dance directions narrated by Byrne. All participants are welcome to move freely or choose to follow David Byrne’s magical suggestions. A video of Byrne teaching choreography for a song on the playlist will be sent in advance to all participants can prepare their dance moves. Ultimately, the goal of this program is to provide a powerful healing moment that can be experienced individually and communally.
SOCIAL! will begin previews in the Drill Hall on April 9 and open April 13, running through April 22. Show times during the week will be at 7pm and at 12pm, 4pm, and 8pm on Saturdays and Sundays. Tickets can be purchased here.
