Brooklyn-based electronic dream-pop duo Corbu has released their Lost & Found EP. The EP reimagines the title track with five new remixes, along with the original version.
Corbu, comprised of Amanda Corbu and Jonathan Graves, focuses on bringing an ethereal, even other-worldly sound to their psychedelic and ambient pop tracks. They have previously toured with Bloc Party, performed with Goldfrapp and played both Austin City Limits and Electric Forest festivals. Last year, Corfu released their debut album Crayon Soul, featuring mixing by Tame Impala and MGMT collaborator Dave Friedman.
[Corbu is] trying to lure their audience deeper into their own subconscious while giving them something to sing along to.
Corbu
On the original single version of “Lost & Found”, Corbu collaborated with Doves frontman Jimi Goodwin. Goodwin produced the track and added reggae and electronic flares, creating a laid-back yet energized soundscape.
The EP features “Lost & Found” redone five times over and explores new genres and sounds. On the “Seaside Version”, the track goes vintage and utilizes upbeat 80s synth to create a sound that could easily fit into an episode of Stranger Things. On the “JKriv Remix”, Brooklyn DJ JKriv remixed the track to fit a more booming club sound evocative of traditional house music and drum loops. The EP as a whole is perfect for the summertime.
New York City-native and emerging R&B artist Diana Bidea is set to drop her newest single titled, “Would You Still” on Friday, June 11.
“Would You Still” is Bidea’s seventh overall single and third release this year, behind her January single “Forbidden Fruit” and March single “The Game.” She also has one EP album so far, Artemis in 2019, with five songs on the tracklist.
With a background in classical opera, Bidea’s music displays her full vocals, cushioned with bluesy melodies. Her passionate musical tone and meaningful, talented lyricism gives off the full contemporary R&B experience.
Bidea’s original songs seem to have similar themes, discussing self-worth, love, and devotion. Her most recent release, “The Game,” more specifically brings a sultry vibe with guitar riffs and raspy vocals. This single blurs the line between sexual references and casual relationship description with lyrics like “sweet pleasure is the game… my favorite pleasure is pain.”
“Would You Still” is more focused on the self, reconciling with carrying the burden of being the person everyone turns to for advice.
I think some people naturally fall into the role of being the person that everyone comes to for answers, empathy and a safe space to keep their secrets. But when it feels like you don’t have that safe space in return, it leaves you feeling heavy with responsibility and emotionally exhausted. (‘Would You Still’) is about searching for someone who can give you that safe space and they will still love you after they know you at your most vulnerable.
Diana Bidéa
“Would You Still” tells the story of a sensitive girl who wears the mask of a bold, put-together person. Described as a “hero complex,” Bidea highlights the importance of checking up on your friends, no matter how happy they seem on the surface.
Though her lyrics’ meanings are deep-rooted, they are anything but mournful. Bidea takes on an optimistic spirit, not questioning her personal worth; simply asking the question, “will you treat me at my true worth?”
The new single is also chock full of vocal riffs and runs, staying true to her soulful style.
NYC-based pop artist Lexi Mariah is returning to the musical spotlight with her first release of 2021 titled “Playlist.” Her previous singles “Waterfall” and “SOURPATCH” received high praise and now the singer makes her mark on summer with her latest single.
The exhilarating yet emotional track debuted on listening platforms on June 11, following a week of anticipation since the young talent announced it on social media. “Playlist” is written by Lexi Mariah herself, along with co-writers and producers Josh Frank, Joe Frank, and Ricky Frank. In an interview with NYS Music, Mariah opened up about the inspiration behind her music and what it represents: positivity for her fans. Clearly, the singer has carried that sentiment into this year.
The new song is the addition that your favorite playlist needs. It will have you on your feet and dancing throughout summer 2021. The track embodies the perfect mix of both lighthearted and emotional lyrics. A melodious guitar line and resonant synth complement Mariah’s ethereal vocals. Additionally, a lively, electronic vibe within the chorus transforms the sound.
I have some playlists that I’ve made over the years that are now hard for me to listen to because the songs give me such vivid flashbacks of times I shared with people who are no longer in my life. On days where I’m able to bring myself to listen to them, all of the memories, good and bad, come rushing back. I always wonder if those songs make the other person think of me, too. When writing “Playlist”, I wanted it to be a track that my listeners could dance to, but also one that would tug on their heartstrings a bit, since it’s a concept that I feel so many people will be able to relate to.
Lexi Mariah on “Playlist”
Mariah’s new release follows her previous single, “Waterfall,” which dropped at the end of 2020. With “Playlist,” she seamlessly unites her traditionally heartfelt lyrics with a bright and lively supporting track. The singer-songwriter has, unsurprisingly, unearthed yet another layer of her music and sound.
Stay updated on Lexi Mariah’s upcoming projects with us here, and on her Instagram and Twitter. Check out “Playlist” along with Mariah’s previous single “Waterfall” and more on her Spotify and Youtube now.
Starting in June, DSP Shows will be at Beak & Skiff in Lafayette, blessing CNY with tons of live music. Groups such as Lake Street Dive, Indigo Girls, 10,000 Maniacs, and Fitz & The Tantrums will be featured, among others. “Pod” tickets for safely-distanced performances are on sale now here.
10,000 Maniacs is an especially adored group that has helped create the alternative rock genre over the last forty years. This performance will be their first since February 2020.
Rising Appalachia’s southern roots combined with their global influences create a genius folk sound that is displayed on their album, Leylines. Their passionate fans have led them to appear in many major festivals across the country.
Pigeons Playing Ping Pong is a psych-funk group from Baltimore. They are best known for their festival, Domefest, and they recently earned their first arena headlining performance.
Indigo Girls (and special guest Lucy Wainwright Roche)
Indigo Girls, the duo of Amy Ray and Emily Saliers, have an unmatched chemistry that make them a crowd favorite. They are masters in folk-tinged pop duets.
Fitz & The Tantrums are known for their infectious high energy levels that come to life on the stage. They are LA-based and have a single, “Handclap” that has been certified 2x platinum.
The Wood Brothers (with special guest Valerie June)
Fri. August 13, 2021
5pm Concert Grounds Open // 7pm Showtime
Hailing from Nashville, The Wood Brothers consists of Chris and Oliver Wood as well as multi-instrumentalist Jano Rix. They have been deemed masters of soulful, American folk.
Old Crow Medicine Show
Wed. August 25, 2021
5pm Concert Grounds Open // 7pm Showtime
Old Crow Medicine Show is an Americana string band that makes folk, old-time, and alternative country music. Their album Remedy won them the Grammy Award for Best Folk Album in 2015.
New York City-based indie alternative act D’Arcy shared her newest single “Bad Habit” on May 28 in preparation for the release of her debut EP album and tour.
D’Arcy’s debut single, “Crush,” was released in October 2020. “Crush” was followed by her single “Bad Girls” in December 2020 with a remix by producer Morgothbeatz, who has previously worked on tracks with rappers Lil Xan and Juice WRLD.
“Bad Habit” stands in contrast to D’Arcy’s other tracks, which focus on upbeat young love, lust and wild nights. “Bad Habit,” with its buzzing bassline and low-spirited lyrics seems to reflect the aftermath of the “cocaine, head spin, pills and gin,” that D’Arcy sings about in “Bad Girls.”
D’Arcy’s alternative style shines in “Bad Habit,” using original electronic tracks that add to the mysterious and grungy feel of the lyrics. The genre-bending singer sticks out in a similar way that Nine Inch Nails does, shifting from electronic, to art-pop, to more angsty alt-rock in each single. D’Arcy is one of those artists that simply can’t be kept within a genre label.
Bad Habit centers on a struggle with addiction and the road to recovery, the song involves self-awareness about the reality of addiction.
D’Arcy
“Bad Habit” also evokes a similar vibe to popular singer Lorde’s alternative style, both discussing themes like addiction, nightlife, and settling into adulthood. D’Arcy’s developing style through her first three singles is a promising introduction for her upcoming album.
D’Arcy’s “Hard to Kill” Summer Tour headlined by country singer Lee Dewyze will kick off on August 14 and make four stops in New York State in September. D’Arcy’s debut EP will be released in mid-August.
One of rock journalism’s most experienced, insightful and productive writers, Joel Selvin, has created a fresh take on the telling of the birth of L.A. pop and the California dream of the ‘60s with his latest book, Hollywood Eden: Electric Guitars, Fast Cars and the Myth of the California Paradise.
When it comes to writing about rock music, and writing about it very well, few can match Selvin. From 1969 – 2009, he was a rock music critic for the San Francisco Chronicle, as well as a contributor to Rolling Stone, Melody Maker, the Los Angeles Times and many more. He has written or co-written excellent books on artists like Ricky Nelson, The Grateful Dead, Sly and the Family Stone and Sammy Hagar, events like Monterey Pop, The Summer of Love, Altamont and the birth of the dance craze The Peppermint Twist at one of the pioneering NYC club scenes, The Peppermint Lounge.
Joel Selvin, author.
With his masterful 2014 book, Here Comes the Night: The Dark Soul of Bert Berns and the Dirty Business of Rhythm and Blues, Selvin rescues from obscurity one of the most innovative producers/songwriters of the ‘60s, a man who was largely forgotten after his death in 1967 at age 38. Berns was the man who brought Latin swing to rock with his first hit production, “A Little Bit of Soap,” in 1961, as well as the architect of many of Atlantic Records’ early hits for R&B stars like Solomon Burke, Esther Phillips, Ben E. King and Wilson Pickett. Berns was also the writer of classics like “Twist and Shout,” “Piece of My Heart,” “Cry Baby” and “Hang on Sloopy,” and the producer of mega-hits like the Drifters’ “Under the Boardwalk,” Barbara Lewis “Baby I’m Yours” and Van Morrison’s “Brown Eyed Girl.”
If all his books have one thing in common, it is Selvin’s skill as a storyteller. His books read like someone spinning a long yarn around a campfire. They are incredibly rich in fact and scene-setting details, and compulsively readable. Hollywood Eden is cut from the same mold.
Selvin’s latest tells the story of a group of young musicians who came together at the dawn of the ‘60s to create the lasting sound that powered the myth of the California dream. Central to the saga is a group of sun-kissed teens from the University High School (Uni High) Class of ’58, which included surf music pioneers Jan and Dean, bizarro rock impresario Kim Fowley, drummer Sandy Nelson, Nancy Sinatra, the Beach Boys’ Bruce Johnston and Kathy Korner, the petite teen surfer who inspired the book and movie Gidget. They came of age in Southern California at the dawn of a new era when anything seemed possible. These were the kids who created the idea of modern Southern California, complete with surf music, hot-rods and electric guitars, that the rest of world saw as a teenage paradise on earth.
The forward to the book sets the Rock-n-Roll high school scenario by also listing the alumni of other schools, like Hawthorne High (Brian Wilson) and Fairfax High (Phil Spector, Herb Alpert, Wrecking Crew sax man Steve Douglas and songwriters P.F. Sloan and Steve Barri), sound-obsessed youngsters who would go on to revolutionize pop music. Some of the Angeleno legends referenced were native New Yorkers or had Big Apple connections, like the Mamas and the Papas and Phil Spector. With all their glorious accomplishments, some of the stories here end with the characters getting burned, for flying too close to the sun or driving too fast and crashing. The latter was the case for Sandy Nelson, who had a smash hit with the drum solo-driven instrumental “Teen Beat” and especially Jan Berry of Jan and Dean.
Berry is the worthy centerpiece of the story, another legend whose accomplishments are getting lost with the passing of time. Tall, blonde, handsome, athletic and with a magnetic personality, Berry’s adventures in music started in the late ‘50s, when he formed a doo-wop group called The Barons, which included folks like Sandy Nelson, Bruce Johnston, actor-to-be James Brolin and, of course, his partner-to-be Dean Torrence.
With his father’s gift of an upright piano and two Ampex reel-to-reel tape recorders, Berry set to experimenting in his garage. He started bouncing tracks and stacking vocals to create a sound that would become the signature of the sunny California dream, it would also serve as the template for a legendary musician he would come to work closely with, Brian Wilson.
When Torrence was conscripted into the army, Berry teamed up with Arnie Ginsburg and scored a hits, including “Jennie Lee” and “Gas Money” as Jan and Arnie. By 1959, he was back in business with Dean scoring a Top 10 hit with the Herb Alpert-produced “Baby Talk.” Even though he was attending medical school, Berry also had the energy to write and produce for other artists like The Rip Chords, The Matadors and actress-turned-singer Shelley Fabares.
Jan and Dean’s commercial peak was from 1963 – 1966, when they scored sixteen Top 40 hits, many in collaboration with Brian Wilson like the Wilson-Berry penned “Surf City,” along with “Drag City” and “The Little Old Lady from Pasadena.” Berry’s fate would be presaged with his #8 hit from 1964, “Dead Man’s Curve.” In April 1966, he would crash his speeding car right near this very curve and suffer serious brain damage and paralysis that would essentially put an end to his creative career.
Also noteworthy in Hollywood Eden is the fascinating career of Bruce Johnston. A child of privilege from Bel-Air, Johnston also made some major strides while still in high school, playing with Richie Valens, The Everly Brothers and Eddie Cochran and producing and playing on Sandy Nelson’s “Teen Beat.” He also produced the Rip Chords and his own string of surf and car singles, with future Byrds producer Terry Melcher. In 1965, he joined the Beach Boys and was featured on some of their classic albums like Pet Sounds, Sunflower and Surf’s Up.
Drummer Sandy Nelson’s story is another interesting one that was, like his good friend Berry’s, derailed by driving too fast. Nelson served as a session drummer on early hits by Phil Spector and the Hollywood Argyles, before scoring a million-selling, Billboard Top 5 hit with the drum solo driven “Teen Beat” in 1959. Nelson pounded out two more Top 10 hits, including “Let There Be Drums,” before a 1963 motorcycle accident led to the amputation of his leg.
Readers will also be intrigued by Selvin’s telling of the story of Nancy Sinatra. He tells how Ol’ Blue Eyes’ little girl went from nowhere in her singing career by playing the “good girl” before scoring a worldwide #1 as the “bad girl” who snarled “These Boots Are Made for Walkin’.”
Selvin’s latest provides tons of enlightenment on the careers of more L.A. legends like performer/record company head Herb Alpert, the Mamas and the Papas and their producer Lou Adler, Phil Spector, Kim Fowley and, of course, Brian Wilson and the Beach Boys. The book ends with the release of Wilson’s crowning achievement, “Good Vibrations,” and beginning of his decline with the commercial failure of Pet Sounds and its abandoned follow-up Smile.
With America hopefully finally coming out of the long Covid-19 quarantine, Selvin’s Hollywood Eden will be a great summer read for music-lovers who want to experience the sunshine sounds and some California dreamin’.
The Windy City will see the return of Pitchfork Music Festival and Lollapalooza for engagements this summer. Grant Park will host Lollapalooza July 29-August 1, while Pitchfork Music Festival will return to the friendly confines of Union Park over September 10-12.
CHICAGO, IL – JULY 31: Recording artist Flume performs on the Samsung Stage at Lollapalooza 2016 – Day 4 at Grant Park on July 31, 2016 in Chicago, Illinois. (Photo by Tasos Katopodis/Getty Images for Samsung)
Lollapalooza celebrates its 30th year as a world-class festival in 2021, and has been known since inception for its multi-genre, diverse lineups. More than 165 bands will perform on eight stages over four full days of music July 29-August 1 in Chicago’s crown jewel, Grant Park. 4-Day Tickets are on sale now at lollapalooza.com.
The all-star lineup for Lollapalooza includes Foo Fighters, Post Malone, Tyler, The Creator, Miley Cyrus, DaBaby, Marshmello, Illenium, Journey, Megan Thee Stallion, Roddy Ricch, Young Thug, Alison Wonderland, Brittany Howard, LAUV, Kim Petras, Omar Apollo, Ashe, LP, Jacob Banks, Olivia O’Brien, Princess Nokia, Trevor Daniel, and more.
Launched by founder Perry Farrell in 1991 as a touring festival, Lollapalooza remains an innovator in festival culture over 25 years later. Lollapalooza was the first festival to bring together artists from a wide range of musical genres on one bill, it was also the first to travel, the first to expand to multiple days, the first to introduce a second stage, the first to blend art and activism, the first to offset its carbon emissions, the first to put electronic music artists on the main stage, the first to create family friendly programming, the first to make its home in an urban city center and the first to expand internationally.
In accordance with current local public health guidance, full COVID-19 vaccination or negative COVID-19 test results will be required to attend Lollapalooza 2021. For patrons who are not fully vaccinated, a negative COVID-19 test result must be obtained within 24 hours of attending Lollapalooza each day. Details on the festival entry process will be available in early July. Lollapalooza is excited to partner with the City of Chicago to encourage vaccination in Chicago in the weeks prior to the festival. If you have questions about COVID-19 vaccines or to find a vaccination location near you, please visit www.vaccinefinder.org.
For 15 years, the Pitchfork Music Festival has delivered an eclectic musical lineup, singular in its ability to place contemporary, cutting-edge acts alongside some of the most revered artists of our time. It’s this unique blend of discovery and tradition that makes the Pitchfork Music Festival stand out as one of the most celebrated weekends of the year.
Pitchfork Music Festival opens on Friday, September 10 with Phoebe Bridgers, Big Thief, Animal Collective, Yaeji, The Fiery Furnaces (their first show in over a decade), black midi, Hop Along, Kelly Lee Owens, Ela Minus, DEHD, The Soft Pink Truth, DJ Nate, Dogleg, and Armand Hammer.
Saturday features St. Vincent, Angel Olsen, Kim Gordon, Ty Segall & Freedom Band, Waxahatchee, Jay Electronica, Jamila Woods, Georgia Anne Muldrow, Faye Webster, Amaarae, Maxo Kream, Divino Niño, Bartees Strange, and Horsegirl.
On Sunday, the festival hosts Erykah Badu, Flying Lotus, Thundercat, Danny Brown, Cat Power, Andy Shauf, Caroline Polachek, Yves Tumor, The Weather Station, Mariah the Scientist, oso oso, KeiyaA, Special Interest, and Cassandra Jenkins.
Pitchfork Music Festival tickets are now on sale here. Three-day passes are $195 and single-day passes are $90. The Pitchfork PLUS upgrade, including a range of exclusive amenities, is $385 for a three-day pass and $185 for a single-day pass. If the festival is postponed or rescheduled due to COVID-19, ticket buyers can keep their passes for the new dates or request a refund. More details are available here.
To ensure the health and safety of guests, artists, and staff, the Pitchfork Music Festival will adhere to the city of Chicago’s COVID-19 protocol, and will keep attendees updated as federal, state, and local regulations evolve.
In May 1971, when Paul McCartney teamed with his wife Linda for his second solo album, Ram, the critics greeted the occasion with guns drawn.
To many fans and music journos, McCartney was viewed as “the man who broke up the Beatles” (he wasn’t, of course; it was John who first asked for “a divorce”). At that juncture, he was also at odds with his brother Beatles over management, so they weren’t inclined to say anything nice about him or his music, especially with all their bank accounts frozen due to the legal machinations. And while Lennon took the PR offensive early and did many interviews to spin history, including the book-length “Lennon Remembers” in Rolling Stone, McCartney was hidden away in Scotland literally inventing the D.I.Y. rock aesthetic with his debut album, McCartney. The majority of his follow-up, credited to Paul and Linda McCartney equally no less (take that John and Yoko!), was largely recorded in two sessions in New York City with session players and the New York Philharmonic.
While the delightfully eclectic Ram received the full production values missing on his handcrafted debut, and while it topped the album charts and yielded a number-one single with “Uncle Albert/Admiral Halsey,” it was savaged in the press.
The Village Voice called it “a bad record,” NME “unrelieved tedium” and Playboy accused McCartney of “substituting facility for any real substance.” Rolling Stone’s Jon Landau called it “incredibly inconsequential” and “monumentally irrelevant.”
Now keep in mind that Rolling Stone was totally in Lennon’s corner at this juncture, all for the access that sold issues. It was recently revealed that magazine founder Jann Wenner went as far as having a critic rewrite his initially glowing review of McCartney’s solo debut into a pan, all to please Lennon. And let’s face it, Rolling Stone has an absurdly long history of getting it all wrong – of panning a multitude of masterpiece albums in its initial reviews. That includes everything from Jimi Hendrix’s Are You Experienced?, the debut discs of Led Zeppelin and Black Sabbath to Neil Young’s Harvest and Nirvana’s Nevermind.
As time went by, Ram slowly became noticed for what it is, maybe Paul’s best solo album after Band on the Run, by critics and especially a younger generation of indie-minded musicians. With its 2012 reissue, it’s reevaluation to an ahead-of-its-time classic was complete, with raves in outlets like Pitchfork, Mojo, AllMusic and the like. Music vlogger Elliot Roberts has put the sentiment, that the McCartneys may have created “the indie pop genre” with the disc, into a much-viewed video on YouTube.
The latest evidence of the quirky album’s mighty appeal, especially to younger musicians who weren’t even born at the time of its release, is the drop-dead spectacular new tribute album, RAM ON: The 50th Anniversary Tribute to Paul & Linda McCartney’s RAM (Spirit of Unicorn Music, distributed by Cherry Red Records).
RAM ON is the brainchild of powerhouse L.A. multi-instrumentalist/producer Fernando Perdomo and Denny Seiwell, the drummer on the original album and many of the biggest hits of Macca’s band, Wings, including “My Love” and “Live and Let Die.”
After Seiwell received McCartney’s blessing via text, the duo gathered together over 100 musicians to make it a reality. Veteran guitarist David Spinozza and trumpeter Marvin Stamm returned to recreate their parts from the original sessions – on the off-album single “Another Day” and “Uncle Albert/Admiral Halsey” respectively. Elton John guitarist Davey Johnstone, bass ace Will Lee of The Fab Faux, Carnie Wilson (Wilson Phillips), Dan Rothchild (Heart, Sheryl Crow), Pat Sansone (Wilco), Joey Santiago (Pixies), Eric Dover (Jellyfish), Durga McBroom (Pink Floyd), Dave Depper (Death Cab for Cutie) are just some of the contributors.
Unlike some tributes which favor radical reinvention, RAM ON works to stay close to the feel, sound and fun-loving spirit of the original. To keep true to the groove, the duo began by first tracking Seiwell’s drum parts as he played along to the original album, on a kit including the original snare drum used in the 1970/71 sessions. Guitarist Spinozza also used his original axe on the remake of “Another Day.”
In recreating all the musical textures on this slyly sophisticated release, Perdomo and Seiwell went with organic sounds, with period instruments like the Wurlitzer Electric Piano, Fender Rhodes and surely a bevy of vintage guitars vs. their sampled counterparts. The playing, engineering and mastering here is all first-rate. It’s like turning the Instagram sharpen tool onto an old family photo to reveal more delicious detail in your past. Perdomo’s skill at bringing a new sheen to vintage sounds was earlier evidenced in his contributions to Echo In the Canyon, the 2019 Netflix musical documentary on the LA/Laurel Canyon music scene of the ‘60s.
Ram was one of rock’s most stylistically diverse albums at the time of its release. It mixes the quaint ukulele folk of “Ram On,” with screaming rockers like “Monkberry Moon Delight,” the acoustic blues of “3 Legs” with fully orchestrated suites like “Back Seat of My Car” and “Uncle Albert/Admiral Halsey.”
High praise should go to the many lead vocalists who had the task of trying to match the many voices of Paul McCartney at his peak, from the gentle crooner to the tonsil-ripping rocker.
Wilco’s Pat Sansone nails the vocal vibe on “Ram On,” while Nick Bertling recreates all the musical fabric of this seemingly accidental sounding masterpiece, from the reverb piano arpeggios of the opening to its footstomp rhythm and ukulele strums. Timmy Sean comports himself with the proper vocal gusto on both “Smile Away,” which features a slide guitar solo from Elton’s string man Davey Johnstone, and especially on the extra manic “Monkberry Moon Delight.” The latter is one of highlights of both the original and this tribute disc. Dan Rothchild also hits the nail on the head in his duo of lead vox on the. album opener “Too Many People” and “Heart of the Country.”
Paul was definitely deep into the ganja at the time he penned these incomprehensible lyrics, the kind of madcap nonsense (that’s a compliment, folks) for which Pink Floyd’s acid waylaid founder Syd Barrett is so revered. This track, and so many on this album, just capture an army of musicians having fun, pursuing simple, communal sonic joys rather than trying to make the grand artist statement. Beach Boys’ offspring Carnie Wilson and Rob Bonfiglio do a great job on “Long Haired Lady,” while someone called The Dirty Diamond (?) and Durga McBroom, Pink Floyd’s recent femme fatale tour vocalist, nail the dirty blues of “3 Legs.”
Perdomo and Seiwell do take subtle liberties with the orchestrations as heard in “Uncle Albert/Admiral Halsey.” The intro on the tribute features some beautiful vibraphone chording, something that sounds as if it was lifted from “Pet Sounds”-era Beach Boys. It made me go back to the original album to find that it wasn’t there in Macca’s version. This is one of many smart little additions from the tribute’s producers that make the listening experience so rewarding.
The secret spice of Ram, and much of the Wings’ output for that matter, is the background vocals by Linda McCartney. No less an authority than the curmudgeonly Pete Townsend has praised her contributions. It’s a sometimes wavery, sometimes pitchy but always honest and human sound which, if stripped from the album, might’ve cost it a key ingredient in its appeal. In retrospect, Linda’s voice is a sonic signature that gives Ram and Wings a truly unique character. Imagine “Whiter Shade of Pale” without the organ, “Strawberry Fields Forever” without the mellotron, and you see what Linda’s absence might mean.
Lauren Leigh, Emily Zuzick, Beatrix Coyle, Jody Quine, Cyndi Trissel, Cait Brennan, Marisol Koss are among the vocalists called upon to perform Linda’s parts. The background vocals are expertly arranged throughout and include more than a dozen voices on tracks like “Monkberry Moon Delight.”
In addition to wrangling this cast of 100, Perdomo wears many hats instrumentally, playing many of the acoustic and electric guitar and some keyboard parts.
RAM ON will make more people realize just how great and groundbreaking Paul and Linda’s initially maligned 1971 offering is.
For the variety of sounds, its performances and sheer reckless joy, it should be placed among his and the Beatles’ best. It is an album made by a man who was done with making grand lyrical statements or politicking through sound, at least for the moment. And the way he worked, his ability to do things from personal joy and not to please or outdo the Beatles’ myth is something that may indeed have served as a kind of template for the indie pop sound. Sure it was shoegazing, a reflection of his commitment to his relationship, family and the simple joys of life and love in the country, but it was five-star. Word from Seiwell, who remains close to Paul, is that he is pleased with the result of Perdomo and his old drummer’s efforts.
That should be enough for you to check it out, don’t you think?
KeyTracks: Monkberry Moon Delight, Ram On, Uncle Albert/Admiral Halsey”
For more, check out this recent interview with Seiwell and Perdomo with Elliot Roberts on his podcast
With the COVID-19 pandemic starting to dissipate, what’s a better way to celebrate than to attend live music at a historic venue (Smith Opera House) with a bold-sounding electric rock band Maddy Walsh & the Blind Spots, a fixture to the Finger Lakes music scene.
Photo: Whitney Nichols Photography
This performance on June 26th will be in high demand with only 100 tickets on sale (following NYS mandate). Maddy Walsh & the Blind Spots have a rhythm that can’t be beat carried by the classic sounds of an electric guitar that pair perfectly with an upbeat electric keyboard. But the lead vocals, Maddy Walsh, perfectly co-exist with the band’s sounds as her fun lyrics and upbeat voice will have you singing along before you know it.
The Smith Center for Arts has been going strong for over 125 years and has no plan on slowing down. They constantly bring in great artists, such as Maddy Walsh & the Blind Spots, year-round in their historically rich amphitheater.
It is important to note that The Smith will not be filling orders over the phone or in-person at the Box Office. There will be no sales available at the door day of the show. Tickets can be purchased at thesmith.org.
Enrique Iglesias and Ricky Martin will kick off on September 25th, the 26-date tour will begin in Las Vegas at the MGM Grand Garden Arena, and wrap up on November 20th, at the Anaheim Honda Center. Iglesias and Martin have created notable solo pop and Latin music careers, combining forces as well as bringing in special guest, Sebastian Yatra, to create an incredibly fun, yet safe, live show experience.
To say we are going on tour has lifted all of our spirits after the profoundly difficult year the world has gone through and still is. Myself and my entire crew are very excited to bring our best live show safely all over the U.S. and Canada, and let the music bring the healing power and happiness that we all need. I’m also ecstatic to be sharing the stage with my friends Enrique Iglesias and Sebastián Yatra, it’s going to be a blast. Can’t wait! See you all very soon. Get ready to party!
Ricky Martin
On Sunday, October 17th, the tour will showcase at the Madison Square Garden, that being the only New York date. For more information on the rescheduled tour dates and locations, you can visit Ticketmaster.
