Brooklyn-based alt-rocker Moon Walker has released his new dark, synthy single “I’m Afraid I’ll Go To Heaven.” He also announced his sophomore album The Attack of Mirrors.
Moon Walker has been described as “Fuzzed-out 70’s rock bliss…politically charged rock music with a sound akin to the White Stripes. Lyrically, the songs are confrontational and sarcastic,” by Westword. He has also been compared to The Talking Heads by New Noise.
Formed during the height of the pandemic, Harry Springer created Moon Walker to pass time and get extra money through selling songs to song libraries. Now, he produces and performs under the name after his first album Truth To Power garnered a fanbase and hundreds of thousands of streams.
The single “I’m Afraid I’ll Go To Heaven” is sarcastic and sincere, with 70s-inspired dark-heavy synths and lyrics commentating on religion and the modern political system. They find humor in darkness as they sing “I’m afraid I’ll go to heaven / That’s why I’m hoping that I’m right / My biggest fear ain’t no red Devil / It’s being near you people all the time.”
Photo credit: Madison McConnell
The music video produced by Madison McConnell is inspired by Kubrick’s The Shining, and the infamous bar scene. Moon Walker gushed about the video in a statement.
This is my favorite music video I’ve ever made. Madi had the idea to base it heavily off of one of my favorite scenes in one of my favorite movies, which I think was brilliant. It also gave me specific references to base my performance off of, which is great if you suck at acting, like me!
His new album TheAttack Of Mirrors, due October 21, will elevate his nostalgic, alternative garage band sounds over ten tracks. He will be using a more experimental approach, expanding on the sounds shown on his first album.
As we saunter auspiciously into the sunny season, New Yorkers will be hoping for another memorable summer. In light, Madison Square Garden Entertainment Corp. (MSG Entertainment), has released its list of events between all of their MSG affiliated venues. 2022’s “Summer of Live” presentation will be split between Madison Square Garden, Radio City Music Hall, the Beacon Theatre and Hulu Theater at Madison Square Garden, as there will be more than 75 live entertainment events from Memorial Day through Labor Day.
“Summer of Live” kicked-off with a performance from, The Who, on May 26 at Madison Square Garden. A quick turnaround between the 27-29 saw the Harvard Athletic Complex play host to the Boston Calling Music Festival this Memorial Day Weekend. There, fans got the chance to rock out with headliners Nine Inch Nails, The Strokes and Metallica.
From there, MSG Entertainment brings the heat with a jam-packed line up of events at Madison Square Garden, Radio City Music Hall, the Beacon Theatre and Hulu Theater at MSG. From concerts and comedy, to professional darts and boxing, marquee performances will include Lil Baby and Chris Brown on July 22 as part of their “One of Them Ones Tour.” MSG Entertainment will also be host to two Top Rank Boxing fights on June 11 and 18. While popular podcasts, Pod Save America and My Dad Wrote A Porno will also grace the Beacon Theatre stage.
The complete schedule to MSG Entertainment’s upcoming shows schedule can be found below. Tickets to upcoming summer performances are available now on the MSG website.
May 26 at 7:30PM
Madison Square Garden
The Who“Hit’s Back! 2022 Tour” – Tickets start at $97.00
May 27-29
Harvard Athletic Complex (Allston, MA)
Boston Calling Music Festival – Single day admission tickets start at $149.99 with two-day and three-day packages also still available
June 2 at 8:00PM
Beacon Theatre
Pod Save America “(A)live And On Tour 2022” – Tickets start at $49.50
June 3 at 8:00PM
Beacon Theatre
Gipsy Kings – Tickets start at $80.00
June 3 at 7:00PM June 4 at 1:00PM & 7:30PM
Hulu Theater at MSG
World Series of Darts: Bet365 North American Darts Championship – Two-day event with single session tickets starting at $30.00
June 4 at 7:00PM & 9:45PM
Beacon Theatre
Nate Bargatze “The Raincheck Tour” – Limited tickets for the late show starting at $39.75; early show sold out
June 8 at 2:00PM
Hulu Theater at MSG
Beat the Streets WrestlingPresents Final X New York – Tickets start at $65.00
June 9 at 8:00PM
Beacon Theatre
Tribeca Festival Presents “Taurus” – Tickets start at $46.00
June 10 at 8:00PM
Beacon Theatre
Tribeca Festival Presents “the DOC” – Tickets start at $46.00
June 11 at 8:00PM
Beacon Theatre
Tribeca Festival Presents “Untrapped: The Story of Lil Baby” – Tickets start at $46.00
June 11 at 6:00PM
Hulu Theater at MSG
Top Rank Boxing: Berlanga v Angulo – Tickets start at $66.00
June 16 & 17 at 8:00PM
Beacon Theatre
Sigur Ros: World Tour 2022 – Two shows with limited tickets still available starting at $125.50
June 17 at 9:00PM
Hulu Theater at MSG
Hombres G – Tickets start at $75.00
June 18 at 6:00PM
Hulu Theater at MSG
Top Rank Boxing: Artur Beterbiev vs. Joe Smith Jr. – Tickets start at $56.00
June 23-25 at 8:00PM
Madison Square Garden
John Mulaney“From Scratch” tour – Three shows with limited tickets available starting at $69.50
June 24 & 25 at 8:00PM
Radio City Music Hall
Goose – Two nights with limited tickets still available on 6/24, starting at $39.50
June 30 at 8:00PM
Radio City Music Hall
My Dad Wrote A Por.noWorld Tour – Tickets start at $51.75
July 9 at 7:30PM
Hulu Theater at MSG
TOMORROW X TOGETHER“<ACT: LOVE SICK>” tour – Tickets start at $75.00
July 9 at 8:00PM
Radio City Music Hall
CHEER Live – Tickets start at $79.95
July 21-25 at 8:00PM
Beacon Theatre
Widespread Panic – Five shows with tickets starting at $49.50
July 22 at 7:00PM
Madison Square Garden
Chris Brown & Lil Baby“One of Them Ones Tour” – Tickets start at $69.50
July 26, 27, 29 & 30 at 8:00PM
Beacon Theatre
An Evening with Jackson Browne – Four shows with tickets starting at $39.50
July 27 at 7:00PM
Radio City Music Hall
BANKS“Serpentina Tour” – Tickets starting at $39.50
July 28 at 8:00PM
Radio City Music Hall
RuPaul’s Drag Race“Werq The World Tour” – Tickets start at $45.00
July 30 at 8:00PM
Hulu Theater at MSG
Carin Leon – Tickets start at $75.00
July 31 at 8:00PM
Beacon Theatre
Hanson“Red Green Blue 2022 Tour” – Tickets start at $39.50
Aug. 2-3 at 8:00PM
Madison Square Garden
Swedish House Mafia“Paradise Again Tour” – Two nights with tickets starting at $59.50
Aug. 8-12 & 14 at 8:00PM
Madison Square Garden
Rage Against the Machine“Public Service Announcement” tour with Run The Jewels – Six shows with limited tickets still available starting at $125.00
Aug. 18 at 8:00PM
Madison Square Garden
An Evening with Michael Bublé – Tickets start at $131.00
Aug. 21 at 7:00PM
Beacon Theatre
Gilberto Santa Rosa’s Birthday Bash! – Tickets start at $65.50
Aug. 27 at 7:00PM
Beacon Theatre
Celeste Barber“Fine, Thanks. Live Tour” – Tickets start at $54.50
Aug. 30 at 8:00PM
Beacon Theatre
Soft Cell – Tickets start at $49.50
Aug. 30 & 31 at 8:00PM
Madison Square Garden
Roger Waters “This Is Not A Drill” – Tickets start at $70.00
NYC-based singer-songwriter Rachel Bard has released a new track, “The Buildings Are Fake,” her third song to be put on streaming services.
Having written it in 2018 after visiting Los Angeles as a first year film student, the track “is a heartbreak song about the City of Angels.”
Cover art for “The Buildings Are Fake.”
Produced by Brian McTear and Amy Morrissey, the song takes a stripped down garage rock approach. Almost Pixies-like it sets a nice quiet-loud contrast between its imagery-driven verses and disillusioned, anthemic choruses as the track builds towards a loud finish.
As for Bard’s vocal performance, comparisons that ring strongly include Nico and Dan Bejar of Destroyer. Her gloomy, vibrato-laden delivery faithfully match the song’s cynicism and rise to meet the track’s energy during louder moments.
In “The Buildings Are Fake,” Bard is quite visual in how she delivers her ideas. During the verses she muses about pushing “through crowds of teardrops and sunscreen” and “watching the stars all over the floor,” picturesquely reflecting the excited curiosity of a young film student.
It’s all for nought however. “The buildings are fake, and so is your job,” Bard shouts on the hook, comparing the glamorous facade of Los Angeles and the artificial nature of movie sets to that of a dishonest romantic partner, enforcing the track’s general sense of disappointment.
While Rachel Bard doesn’t stray from being artsy and metaphorical in “The Buildings Are Fake,” its message never fails to be clear. This air of let down and heartbreak is conveyed in full articulation over a solid slacker-rock backdrop, making for a fine new addition to Rachel Bard’s resume.
It’s been almost seven long years since Rush played what would become their final NY Metro area shows at Prudential Center in NJ and Madison Square Garden in NYC as part of their 40th anniversary tour. The talent of the trio – Geddy Lee, Alex Lifeson, and the late Neil Peart – has left remarkable influences on many musicians touring today. Primus has been on the road performing their own songs as well as an entire set dedicated to performing Rush’s A Farewell to Kings in its entirety; the tour appropriately billed as “A Tribute To Kings.” A few of those recent stops were in Albany and this past weekend, The Capitol Theatre in Port Chester. Check out our coverage of Primus’ Albany show here.
NYC-based duo Battles, who formed back in 2002, put on an intriguing opening set as an excellent compliment to the rest of the evening. In some ways, the duo seemed like a live performance of a DJ, minus the turntables. Using samples, they crafted remixes and improvised jams on guitar, synths, and drums, and certainly held the attention of The Cap.
Primus took to the stage to the immediate delight of the full house crowd (which seemed to be nearly sold out at a quick glance of the room). Les CLaypool’s driving bass sound led a signature role through the first set as the band navigated through their repertoire, including the recently crafted ode to Volodomyr Zelensky, “The Man With The Iron Balls.” Proceeds from sales of that song, when released April 2022 went to benefit non-profit organization Nova Ukraine.
Donning bit of the spacey glam garb as a nod to 1978, Primus returned for the second set to perform Rush’s A Farewell to Kings in its entirety. The anticipation for this moment of the show was visible even before entering The Cap; the sheer number of Rush album and tour t-shirts in the crowd might make one wonder if they were actually at a Rush fan convention. But in fairness, for the loyal Rush fans it certainly felt that way.
Claypool noted his experience attending a Rush concert in his younger years, looking up to Geddy Lee as a tremendous influence and dreaming about someday playing bass on stage. Almost note for note, Primus recreated the album with remarkable precision to dynamics, tone and style, although Claypool joked about how difficult it was to mimic Geddy Lee’s high octave range (which he pulled off the few instances where he reached for that range).
Rounding out the night, Primus returned for an extended encore to dive back into their own songs.
Primus – The Capitol Theatre – Port Chester – May 20, 2022
Set 1: Those Damned Blue-Collar Tweekers, Lacquer Head, Groundhog’s Day, Polka Dot Rose, American Life, HOINFODAMAN, Conspiranoia, Professor Nutbutter’s House of Treats, Hamburger Train, Harold of the Rocks, The Man With the Iron Balls
Set 2: (A Farewell to Kings): A Farewell to Kings, Xanadu, Closer to the Heart, Cinderella Man, Madrigal, Cygnus X-1
Encore: On the Tweek Again, Over the Electric Grapevine, Jerry Was a Race Car Driver, Tommy the Cat, Follow the Fool
On Saturday, Sound Mind Live hosted their fourth annual music Sound Mind Live Music Festival, an event which aims to raise awareness and support for mental health programs.
Held in Central Park, performers included Outkast’s Big Boi, rock bands Cold War Kids and American Authors, KAMAUU, Wrabel, and Allison Russell.
Cold War Kids frontman Nathan Willett promoted the event in a CNN interview on Saturday.
Speakers at the festival included Talinda Bennington, widow of Linkin Park frontman Chester Bennington who passed away from suicide in 2017, New York State Office of Mental Health Commissioner Ann M. Sullivan, Matt Kudish, the Executive Director of NAMI-NYC (National Alliance on Mental Illness NYC), and Chris Bullard, the Executive Director of Sound Mind Live.
Sound Mind Live Executive Director Chris Bullard speaking during the event.
“Sound Mind is based on the premise that collectively our voices are stronger, and that by amplifying artists who are speaking openly about their mental health, we can elevate the conversation and build a community and culture that breaks the stigma that exists today,” reads the “Our Vision” page on Sound Mind Live’s website.
Non-profit partners of the organization include The National Action Alliance for Suicide Prevention, the American Foundation For Suicide Prevention, the Trevor Project, and several others.
Big Boi of Outkast fame.Cold War Kids performing Saturday.American Authors lead man Zac Barnett.American Authors performing Saturday.Kamau Mbonisi Kwame Agyeman, better known by his stage name, KAMAUU.KAMAUU performing Saturday.Stephen Wrabel, professionally known by just his last name.Wrabel performing Saturday.Canadian singer-songwriter Allison Russell.Russell performing Saturday.Talinda Bennington, widow of Linkin Park frontman Chester Bennington.Bennington speaking during the festival.New York State Office of Mental Health Commissioner Ann M. Sullivan.Matt Kudish, the Executive Director of NAMI-NYC speaking during the festival.Chris Bullard speaking during the festival.
The longevity of the hip hop era has yet to cease. Its influence within the music industry, as well as the significant role it plays in cultural shifts worldwide is ever-growing. With the help of stellar records, powerful performances, captivating music videos and the puissant storytelling, hip hop has become engrained in everyday life, down to basic communication. Over decades it has been fragmented into sub-genres with its origins deriving globally, with one of the most bodacious being drill music. It may have first originated from Southside Chicago, but nonetheless has extensively embedded itself within the rap game forever.
Kid Flvsh
This sub-genre of music began in the early 2010s and was pioneered by the notable, King Louie and Chief Keef. Nonetheless, drill has yet to falter, as it has grown from underground to mainstream music, preeminently within New York and the United Kingdom. Every drill song has a storyline, centered around gun violence, disses, and gang culture which touch upon the realities of surviving the streets. Its raw nature is what also connected people, as well as led rappers from a life of poverty, a higher degree of institutionalized racism, and crime within the hood, to a better life with riches and fame. After consummating such accomplishments, many take on the role of the hero within their hometowns and devote their time, as well as their money to giving back.
Fivio Foreign, Alicia Keys, and Ye, also known as Kanye West, are the three prominent artists who collaborated to create the timeless song, “City of Gods”. Considering the trio’s hometowns are New York City and Chicago, the cultures from both were intertwined to perfection.
In an interview with DJ Clue on 105.1, Foreign compared his song with another credible record by Keys and Jay Z, “Empire State of Mind”, which is a New York classic. The idea for “City of Gods” was first established by none other than musical genius Ye. When Foreign first received the beat, it was a sample from The Chainsmokers’ 2015 song, “New York City“. Soon after creating his verse, he shared everything with Ye, who then envisioned a new path for it. Ye not only mixed up the beat, but also encouraged the drill rapper to alter some of his lyrics to further reinforce his message. After adding in his own verse, the only thing missing was the chorus and Ye knew undoubtedly, the one person who could tie this masterpiece together was Keys.
At first I had said ‘ain’t no King of New York, nobody really in charge’ and Ye like ‘yo you gotta say you the King of New York, you the one that’s in charge.’
Fivio Foreign
Not only did Foreign tribute “City of Gods” to New York City, especially his hometown of Brooklyn, but he dedicated it to his friend and fellow drill rapper, TDott Woo, who was fatally shot soon before the record was released. This tragedy is a prime example of the message behind the passionate lyrics, “New York City please go easy on me tonight. New York City please go easy on this heart of mine.” These are more than just lyrics for another hit song but are words that electrify the hearts of so many who experience the same livelihood of violence and crime within their neighborhood.
Kid Flvsh’s vision, for the cover art of “City of Gods”, was to make a statement with the vibe of New York City, as well as all of the emotions from the song. The drawing is in honor of TDott Woo who mirrored what drill is all about.
“City of Gods” is a biblical term that refers to Heaven, which is why Foreign chose it to represent the city that means the absolute world to him. Additionally, the drill rapper shares this nostalgia with New York City natives, Nas, and Jay Z, who are viewed as “gods” within the world of hip hop. All-embracing, Foreign knows the massive impact his city holds, regarding the rap legends it birthed.
Throughout the record, Foreign continued to shed light on how much he appreciates love from his city and is always considering ways to improve its livelihood, especially for people of color. Nonetheless, he spoke of its terrors and how to survive them, which correlates to his album title B.I.B.L.E., Basic Instructions Before Leaving Earth.
On Ye’s verse he mentions “It’s a Sunday Service in Brooklyn”, which refers to the time when him along with his gospel group, performed at DMX’s Memorial in Brooklyn. Sunday Service was recognized globally after their appearance at Coachella on Easter of 2019.
Ye proceeds with a juxtaposition, “It’s the city that come with the lights. I’m with the drillers that come with the night.” The first line describes the city that never sleeps, specifically Brooklyn and how it is a city of light. However, the next line emphasizes how dark and gloomy it is at nighttime, considering all the violence that occurs. This topic is nothing new to Ye, as he once bared witness to the crimes of Chicago growing up.
New Yorkers continuously support and respect Ye’s music, cultural influence, and commitment to his artistry. Resultantly, every chance Ye receives he praises New York, hence his reference to Frank Sinatra, “I feel like Sinatra in these streets.” Sinatra is accoladed with being one of the greatest musicians of the 1900s, which Ye compares to how the world views himself in this generation. Additionally, the 20th century singer once created a record in honor of the city, called “New York, New York“.
I’m from the Chi but I’m always New York. In the city, they treat me like Jesus is walkin.
Ye
Although, many claim drill music to be detrimental to the culture and that it supports ongoing violence, Foreign is an advocate of the contrary. In fact, he firmly believes this style of music provides people with the freedom to express themselves and discuss what their ferocious world entails daily. Furthermore, rising to stardom, provides an opportunity for monetary gain, which leads to a better life and keeps more Black men off the streets. Notwithstanding this perspective, he discusses that many artists do not write their own lyrics, and according to Foreign, would make it unjust for laws to be used against them based on the messages relayed.
As a respected voice of this generation, Foreign is currently planning to unify distinguished artists in support of one another to cultivate change. Those he mentioned who were already in agreement are Ye, Jay-Z, Dave East, 2 Chainz, Fabulous, Jim Jones and more. Moving forward, Foreign would love for younger artists to connect and take part in this brotherhood.
Essentially, no matter how much recognition and fame Foreign receives worldwide, he knows that his home will always be right here in the “City of Gods”.
“City of Gods” Lyrics
New York City, please go easy on me tonight New York City, please go easy on this heart of mine
Nigga, this my shit Welcome to the city of Gods Pop was the king of New York Now I’m the nigga in charge Only the drillers, the city is ours We found out the opps and we pick ’em apart I give ’em my time so I give ’em my heart If the city love me, then I’m really a star New York City, please go easy on me tonight New York City, please go easy on this heart of mine ‘Cause I’m losing my lover to the arms of another New York City, please go easy on me
Yeah, look, this is the city of money and violence Everything we do is gon’ come with a challenge Every bitch you fuck is gon’ come with a balance Every shooter with me is coming in silence And you niggas better pick a side You niggas side hoppin’ If I want ’em to not let you come into the city, it’s my option This is the home of the fly shoppin’ This where the bitches gon’ watch pockets When I’m on TV, I gotta look good ‘Cause I know the whole block watchin’ If you chill with the opps, we is not vibin’ If I see ’em in person, we Fox 5 ’em Yeah, the police is on us, we not stoppin’ (Yeah, the police is on us, we not stoppin’, nah)
This is the town of the big drip (big drip), smooth talk (smooth talk, ha) Milly Rock (Milly Rock), Shmoney Dance (Shmoney Dance), Woo Walk (Woo) You will not survive being too soft Been a long time, we took a new loss Shooters shootin’ ’til we got a new corpse If we stop then we lettin’ it cool off
New York City, please go easy on me tonight New York City, please go easy on this heart of mine ‘Cause I’m losing my lover to the arms of another New York City, please go easy on me
We went off the grid We ain’t watch the throne, we took it We went viral on ’em, they lookin’ It’s a Sunday Service in Brooklyn It’s the city that come with the lights I’m with the drillers that come with the night They ain’t do four years in college But they’ll do 25 to life
We make money every night Never too big of a price After I buy the Chicago Bulls Imma go link with Mike And if I let ’em have my wife, niggas should thank me With this Balenciaga and Balenci’ boots and a new blue Yankee
This is Ye, I’m so focused, throw on a mask, no COVID Imma turn your life to a meme, let Justin LaBoy post it You got an album? Postpone it I drop two and they both going I got a feeling they in they feelings They filmin’ a show, but won’t show it
You gotta watch me in slow motion, I’m in that wide-body Benz I go back to college, do an album, and then drop out again Took me a minute to get here, my vision is crystal clear Ayy, Fivi’, excuse me, but this the feature of the year
I feel like Sinatra in these streets Me and Drizzy, we at peace This the backpack with the Polo and the first Jesus piece I’m from the Chi’ but I’m always New York In the city, they treat me like Jesus is walkin’ I been through the pain and all of the torment I’m sayin’ His name, I make that important
Now it’s time to give ’em hell Ask my staff, I pay ’em well This afternoon, a hundred goons pullin’ up to SNL When I pull up, it’s dead on arrival They act like they love you, they don’t even like you They throw a party, won’t even invite you I seen the same thing happen to Michael
You black and you rich, they sayin’ you psycho It’s like a cycle If you text me anything hype You better text back and say it’s a typo The city of Gods, no city is like you This the new New York, Ye is the GOAT Fivi’ is viral and this is the B.I.B.L.E.
New York City, please go easy on me tonight New York City, please go easy on this heart of mine ‘Cause I’m losing my lover to the arms of another New York City, please go easy on me
Don’t leave me, go easy, go easy, go easy Don’t leave me, go easy, go easy, go easy Don’t leave me, go easy, go easy, go easy
There’s a very good argument to be made that Felix Cavaliere may be one of the most underrated songwriters, singers and instrumentalists to emerge during the Sixties. The latest evidence for this comes in his long overdue autobiography, Felix Cavaliere: Memoir of A Rascal.
As founder, principal songwriter and lead singer of The Rascals, Felix was the force behind nine of the greatest Top 20 hits of the mid-1960s. The roster includes the #1s “Good Lovin’,”“Groovin’” and “People Gotta Be Free” and the still-ubiquitous “A Beautiful Morning,” a #3 hit in 1968 that remains one of the most licensed tracks in movies, television and breakfast cereal adverts! As the first white act signed to the R&B-centric Atlantic Records, Felix was in the thick of the drive for civil rights. His band refused to play concerts that didn’t feature a black act on the bill and crafted the aforementioned “People Gotta Be Free” and “Ray of Hope,” two anthems of the civil rights and anti-war movements. Like his friend Beatle George, Felix’s work and life were forever changed by his encounter and lifelong commitment to a guru, Swami Satchidananda. And while Cavaliere’s forceful, Ray Charles-influenced vocals are often namechecked in “Best Of” lists, his massive chops as an instrumentalist on the Hammond Organ and as an arranger/producer are largely overlooked.
Cavaliere’s story begins in Pelham, New York. He was the son of two Italian-American professionals, a dentist dad and pharmacist mom, who wanted him to become a doctor. While his family was solidly middle class, there was still prejudice towards them in their suburban hometown, something that would forever inform his advocacy for equal rights. His love of music began early, with eight years of thrice-weekly lessons absorbing Bach, Beethoven and Chopin. With the death of his mother when he was 13, Cavaliere changed course and channeled his grief and full energies into music. He combined his love of the classics with his new-found passion for Boogie Woogie, Fats Domino and, especially, Ray Charles, who would prove his most profound vocal and instrumental influence.
In high school, Felix would join his first band, an integrated vocal group called The Swingin’ Six. He would also commence his habit of scrounging in record shops to find obscure tunes for his band to cover. This is something that would lead to his first smash hit with The Young Rascals, The Olympics’ tune “Good Lovin’.” His musical aspirations really solidified while at Syracuse University when he founded the band Felix and The Escorts. His combo would compete for gigs at frat parties with another led by a “beatnik” classmate, Lou Reed. While playing a summer gig at a resort in the Catskills, Cavaliere would meet Joey Dee, leader of the Starliters of “Peppermint Twist” fame. Dee would soon ask him to join his band on a tour of Germany where the opening act was the pre-fame Fab Four.
Shortly after his return and a continued stint with the Starliters, 20-year-old Cavaliere ventured to create his own band. His began by enlisting “rockabilly crazy” Canadian guitarist Gene Cornish, whom he had played with in the Starliters. He then found his “cocky” co-songwriter and co-lead vocalist Eddie Brigati at the Choo Club in Garfield. The band was completed with the stick-twirling Dino Danelli, who Cavaliere found playing at the Metropole Jazz Club in Times Square.
The band’s big break came when they were discovered while playing a summer residency at The Barge in the Hamptons by Sid Bernstein, the man who brought The Beatles to Shea Stadium. Unlike many managers of the era, Bernstein and his partner Walter Hyman proved to be both fair and savvy. They set the young musicians up with their own publishing company, pension plans and also a contract with Atlantic Records, one that gave them free unlimited studio time and full creative control, right down to album cover art. It also gave them access to superlative session musicians like bassists Chuck Rainey and Ron Carter and saxman King Curtis, engineering by the renowned Tom Dowd on the world’s first 8-track recorder and the arranging talents of the peerless Arif Mardin, the man behind a boatload of classics from Aretha Franklin and Roberta Flack to The Bee Gees and Nora Jones.
As for their band name, Felix believes it was suggested by TV kiddie show host Soupy Sales when they went to see him to pitch themselves as his backing band. Drummer Danelli asserts he came up with it after watching The Little Rascals on TV. Either way, they at first got tagged The Young Rascals by Atlantic to avoid confusion with another very different act, The Harmonica Rascals.
Felix and his band’s ascent was supersonic –“six months from rehearsing in my parent’s basement to the top of the charts with ‘Good Lovin’” according to Cavaliere. Luckily for us, he devotes a good deal of the book to the writing and recording of his classic hits, many composed with Brigati.
Felix would generally come up with the titles, choruses and music and leave the verses to Brigati. Atlantic only began to have confidence in their writing with the Cavaliere-penned “(I’ve Been) Lonely Too Long,” a Top 20 from their second album, 1967’s Collections. With his recollection of “A Beautiful Morning,” Felix discusses how it was inspired by and written in Hawaii, a locale that had a special reverence for his band. According to Felix, the #1s “Groovin’” and “People Gotta Be Free” almost weren’t released. The first because of its overtly laid back Latin feel and lack of drums. This track, which spent five weeks at the top of the Top 40, was only released after the powerful DJ, Murray the K, made an appeal to label A&R chieftain Jerry Wexler. At first “People Gotta Be Free” was thought to be too controversial for release during the turbulent summer of 1968, but it was eventually issued and raced to the top of the charts.
Cavaliere notes The Beatles and Sgt. Pepper as influence on albums like their psychedelic Once Upon A Dream and the double-disc Freedom Suite. But at the height of their popularity, there was a mutiny in the ranks when an exhausted Cavaliere headed to Mexico for a couple of months of R&R. In his words, he went there to chill and protest the war and paying taxes to fund it. The rest of the band went into the studio to record an album without him; something that proved a dismal failure.
In his memoir, Cavaliere shares many interesting anecdotes about life on the road and The Rascals’ many TV performances, especially the grueling six-day rehearsals for each of their performances on The Ed Sullivan Show. Due to Brigati and Cornish’s fear of flying, the band largely drove from gig to gig, with Felix behind the wheel. He talks about weird gigs playing a bullfighting ring in Puerto Rico, co-headlining the Fillmore West with a “very unpleasant” Van Morrison, taking the stage at Shea Stadium in 1971 and his many tours to Hawaii, where he would bring along his whole family and guru. He talks of his admiration for other Italian-American stars before him, Dion and Frankie Valli, and his contemporary NYC-born hitmaker, John Sebastian of the Lovin’ Spoonful. He also recalls Jimi Hendrix, whom he knew from his own time with Joey Dee and the Starliters and his efforts to try and get the guitarist away from drugs.
A pivotal point in his life and art came with his meeting Swami Satchidananda through Steve Paul, owner of the famous Scene Club. Before becoming a guru, Satchidananda was a businessman who ran a company that made cars that ran on wood! After the death of his wife, Swami took to the path, something which Cavaliere did eagerly himself by becoming a vegetarian and practicing Hatha Yoga and meditation daily. His guru would give Felix the name “Paalitha,” for protector, and tell him that “Music and bringing joy from it was his karma.” Felix’s Swami would go on to open the Woodstock Festival, found a large teaching ashram called Yogaville and number among his devotees Carole King, Jeff Goldblum, model Lauren Hutton and other boldfaced names.
Cavaliere spends a good deal of time speaking about discrimination and his lifelong efforts to counter it. He recalls how his parents were not allowed to join the country club in Pelham due to their Italian heritage and how one of his high school classmates, Michael Schwerner, was among the three volunteers killed while registering black voters in Mississippi in 1964. He estimates he and his bandmates lost millions by having in their concert contracts the necessity of having black acts on the bill.
Cavaliere goes on to discuss the breakup of the band and their move from Atlantic to Columbia Records, where they made two ambitious albums in an increasing jazzy/gospel vein, Peaceful World and The Island of Real, collections whose stature has only grown with the passage of time. According to Cavaliere, Atlantic wanted to resign but only Felix as a solo artist. But he wanted to keep the band together, hence the move to Columbia. He also bemoans the premature decision by the band to sell its publishing.
Felix describes his post-Rascal years with pride, from his first stint as producer for Laura Nyro to his underrated solo albums and his duo disc with Stax guitar/songwriting legend Steve Cropper. He also waxes poetic about his love of Nashville, his home for several decades and its vibrant music scene, and also the fun of touring with Ringo Starr’s All-Star band. And, like any good Italian boy, he talks with deep love about the sacrifices and support of his parents and his love for partners and daughters.
If it wasn’t for The Rascals, Steve Van Zandt may never have gotten his role as Silvio Dante in The Sopranos. His humorous induction speech for the band at the 1997 Rock and Roll Hall of Fame Ceremony is what caught the imagination of series creator David Chase. Cavaliere laments that The Rascals: Once Upon A Dream, the multimedia show/concert event Van Zandt created for the band, had such a limited Broadway run and in a subsequent tour. He also expresses regret that the band itself cannot quite get it together for a proper reunion/farewell tour.
Cavaliere is presently on a nationwide tour with Legends Live alongside Micky Dolenz of The Monkees. Visit his website to order the book and tickets for the tour. www.felixcavalieremusic.com
Welcome to the fuzzy synth, wet bass and glittery guitar that is Harry’s House. Superstar Harry Styles‘ third album release has some old formulas, new movement, and as always, a lot of falsetto. It shouldn’t surprise any fans that this record is also packed with mushy moments, breakup stories, and rather scandalous dirty talk, as this is Harry’s first record since landing his new lady Olivia Wilde.
Even in the throes of a public relationship, Harry does not fail to bring a variety of influences and ideas into his music to create something that feels truly like home.
Straight away, it is jarring to hear a brass band mixed into Harry’s energetic first track “Music For a Sushi Restaurant”. The masterful blend of disco rhythms and 80s influenced electronic elements creates the whipped cream that tops many songs on the album, including the pop marvel “Daydreaming”. This masterpiece of a track has an engaging hook that samples the Brothers Johnson and earns Quincy Jones a spot on the album’s writing credits. It’s clear that Harry Styles is doing his research into soul music, and songs like the sultry r&b number “Daylight” and the rhythmic “Grapejuice” have a modern, funky foundation to tie the album together seamlessly.
It’s satisfying to see Harry take so many new directions, but what needs trimming are the formulaic songs that round out this album. The acoustic love songs surrounded by waves of harmony or the ambient breakup anthems are very familiar, and it seems the rock and roll energy we’ve seen in Harry’s 2017 title album is missing in Harry’s House. His live shows are a huge affair, and harder rock songs like “Kiwi” and “Only Angel” are the perfect choice for these live performances. As he rightfully progresses into funk, he shouldn’t retire his rock frontman persona just yet. This is a chain of many great albums to come, but let’s hope he dives deeper into the realm of brass funk, leaves behind the old successes, and gives us more of the modern rock and roll we need right now.
Key Tracks: Music For a Sushi Restaurant, Daylight, Daydreaming
New York City-based singer-songwriter Marina Laurendi has released a new single “Gramercy.”
A lush five-minute track, it’s the lead single for her debut EP Stay Mine coming this Friday, which will be accompanied by the release of a music video for the song.
Marina Laurendi performing at The Bitter End in Manhattan. (Photo found on website)
On “Gramercy,” Laurendi croons about an impassioned romance using New York City imagery. Taking an approach reminiscent of Lana Del Rey, a former Lake Placid native, she muses about kissing on the L Train and compares the euphoria of her bout of love to the heights of skyscrapers.
Laurendi always returns to the song’s guiding analogy: the connection between her relationship’s vulnerability and the secrecy of Manhattan’s Gramercy Park. “You got the key to me, treat me like I’m Gramercy,” she sings on the infectious hook.
Her lyrics paint a genuine and intimate picture, and Laurendi’s shaky vocals which never stray from technical peerlessness convey her ideas perfectly.
The same can be said about the song’s musical arrangement which only moves her message forward. The track’s instrumentation varies across its runtime, featuring light chords on acoustic guitar and bright licks on electric, rich keys, pulsating violins, and a noisy organ in the song’s final seconds. “Gramercy” never overplays itself with all these components however, swelling and falling throughout its pop-oriented song structure in a way that stays true to Laurendi’s sentimental subject matter.
No piece of “Gramercy” goes to waste, as Laurendi’s knowledge of her hometown and endearing vocals over a well-crafted musical backdrop contribute to a captivating love song and worthy lead single.
Saturday Night Live closed the books on Season 47 on May 21, with host and native New Yorker Natasha Lyonne with musical guest Japanese Breakfast. The season finale of SNL also brought out a handful of cast departures, including Kate McKinnon, Aidy Bryant, Kyle Mooney and Pete Davidson.
The cold open featured Kate McKinnon as recurring character Colleen Rafferty, recounting an alien abduction alongside Cecily Strong and Lyonne to Pentagon officials. McKinnon took this sketch as her swan song, bidding farewell as she boarded a spaceship, saying “Thanks for letting me stay awhile.”
During Lyonne’s monologue, she mentioned her New York born and bred roots – raised in Great Neck, grew up on the Upper East Side – and mentioning how she has been working with SNL cast and alums for years, including Amy Poehler on Russian Doll. She was joined on stage briefly by SNL alums and friends Fred Armisen and Maya Rudolph who did their impressions of Lyonne, who herself has a Rodney Dangerfield style of delivery.
For Japanese Breakfast’s first song, Michelle Zauner went with the rhythmic single “Be Sweet” off her 2021 album Jubilee, as neon bulbs hung down from the ceiling.
https://www.youtube.com/watch?v=TKvj4vs7ftc
Weekend Update featured a pair of farewells, with Aidy Bryant saying goodbye next to her frequent sketch and song partner, Bowen Yang, and Pete Davidson, who reflected on his career at SNL and thanked Lorne for giving him a chance. Unfortunately left out of the sendoff mix was Kyle Mooney, who created numerous digital shorts and memorable characters over his 9-year SNL career.
Davidson was also featured in the cut for time sketch “Forgot About Lorne,” a parody of Dr. Dre’s “Forgot about Dre” with Eminem cutting the pre-recorded sketch short to tell Pete to stop these parodies and not do them again.
“Paprika” was the second song from Japanese Breakfast, with Zauner wearing a multi-layered white dress while she struck a gong encircles with flowers. as yellow lightbulbs hung down from the ceiling.
https://www.youtube.com/watch?v=s3mHfQgQY1M
Zauner also appeared in the final sketch of the night, joining McKinnon and Bryant for a singalong of Joni Mitchell’s “The Circle Game” in “Women’s Commercial”
https://www.youtube.com/watch?v=WnOGSFV7154
The season finale of SNL was a night of send offs and put a bow on an average season of the NBC franchise. Look back on all our coverage ofSaturday Night Live this season here and share your favorite musical guest and sketches in the comments below.
