On Sunday, November 5 at The L in Horseheads, social media sensation and country singer Alexandra Kay took the stage and just like her song ‘She Stayed,’ she left a lasting impression. The atmosphere was energetic as fans from New York, Pennsylvania and surrounding areas gathered to witness a rising star in the world of country music.
Hailing from Illinois, Alexandra’s journey to stardom is nothing short of inspiring. Her passion for music was evident when she auditioned for American Idol back in 2011, showcasing her remarkable talent and captivating voice to a nationwide audience. Since then, she has continued to chase her dreams, captivating audiences with her heartfelt songwriting.
Alexandra Kay’s soulful vocals and compelling stage presence took the audience on a journey through the heart of country. Her songs and collabs have been streamed millions of times on social media. From heartfelt ballads that tugged at heartstrings to lively, boot-stomping anthems, her versatility as an artist was on full display. Each note held raw emotion, and her storytelling ability was nothing short of remarkable.
Kay’s new album, All I’ve Ever Known was just released in October while she is in the middle of her massive headlining tour across the states. All I’ve Ever Known debuted at #1 on both ITunes Country Album and All Genre Charts.
The L provided the perfect backdrop for this memorable evening, with its intimate setting and top-notch sound quality. As the music filled the venue, it was impossible not to get lost in the magic of the moment. Kay shared personal stories, interacted with the crowd, and made everyone feel like they were apart of something bigger while witnessing her performance.
For those who were fortunate enough to be in the crowd, it was a night they won’t soon forget, and for those who missed it, Alexandra Kay’s star is one to watch in the world of country music.
Alexandra Kay – The L, Horseheads, NY – Sunday, November 5, 2023
Setlist: Painted Him Perfect, Backroad Therapy, Tall Boiz, All I’ve Ever Known, She Stayed, I Hate Airplanes, Happy Once, I Kinda Don’t, More Than You, Everleave, How Do We Go, I Can Do Anything Encore: Best Worst Ex, That’s What Love Is, Skip This Part
Indie punk band The Vigilance Committee has released their newest LP Coming Home– the band’s first LP since their historical concept record, Exit a Hero, released way back in April 2015.
The Vigilance Committee is what it is because of Peter J. Scoma (guitar/vox), Phil Corso (drums), Christian Cepeda (guitar), and Adam James Tomlinson (bass). Their latest releases since their other album, Exit a Hero, include their single “Reflections III” and the activism-driven EP “Join Us.”
Their newest release, Coming Home, features 10 emotionally charged songs that the band crafted during quarantine at the start of the COVID-19 pandemic.
While all songs are impactful, with specially crafted lyrics and perfected blends of electrifying punk and indie, there are some songs that particularly stand out: “It Was Dawn,” “Beacon,” “Hive Mind,” “Oakfield,” “Unanchored,” and “My Body (Moved But My Mind Stayed There).”
Most of the album consists of upbeat punk, but some slow back down, letting The Vigilance Committee’s indie side shine through. One such example is “Hive Mind” which is slower than the other songs, and slightly more relaxed. This song in particular shows The Vigilance Committee’s versatility– but they hit you with a perfectly crafted electric guitar solo in the middle. The lyrics themselves are equally as powerful, and stay true to the title. The song is about questioning our everyday lives– the “hive mind” mentality. This song begs the question: are we making our life choices with intent, or are we just going through the motions?
Some of the most powerful, emotional lyrics are toward the end, showcasing the rage that many people in society face today due the decisions of those in control, such as government officials. “This is not the world that they sold us // Empty promises // A fire burns. // All we want is to be heard.”
Another powerful song is “My Body (Moved But My Mind Stayed There).” This song is more somber and relies on the instrumentals due to the few (but impactful) lyrics and angelic vocals.
In a mind-blowing spectacle that filled the hallowed Blue Cross Arena in Rochester with an eager crowd of 10,400 fans, the mighty progressive rock maestros Tool proved once again that they can pack any venue in the heart of Western New York. Their popularity in this region is nothing short of legendary, with sold-out shows being the norm.
The Tool faithful are a zealous bunch who ardently believe in the gospel of Maynard James Keenan, Adam Jones, Danny Carey, and Justin Chancellor. They’ll gladly regale you with countless reasons why Tool reigns supreme and why your existence remains incomplete until you’ve bathed in the band’s unparalleled glory. Opening the night was Steel Beans from Everett, WA.
While Tool devotees can be a tad vexing at times, it’s hard to fault their passion. They speak the truth when they beseech others to witness this sonic juggernaut live in all its grandeur. The band’s musical prowess alone warrants pages upon pages of discussion, but if you’re a neophyte to the world of Tool, or simply curious about the enigmatic quartet, here’s a taste of what transpired at their mesmerizing Monday November 6 performance.
The atmosphere within the arena was nothing short of transcendental, much like a religious congregation, albeit one with a penchant for intricate time signatures and cryptic lyrics. Despite Tool’s audience not being a sea of saccharine girls in pink dresses and glitter, the sense of unity was palpable. “Lotta dudes here” a friend texted during intermission, and indeed, the crowd comprised primarily of prog-rock Gen Xers, all donning knowing smiles and exchanging high-fives. However, in stark contrast to other male-dominated events, there was a conspicuous absence of lewd remarks or reckless antics. Beer flowed without incident, and by the end of the evening, the floor was mercifully unmarred by spilled brews.
The absence of cell phones was instrumental in preserving this immersive experience. In a world where every fleeting moment demands digital documentation, Tool remains steadfast in its commitment to a strict no-cell phone policy. After all, who needs grainy concert footage on their phone that will likely languish unwatched in the depths of their gallery? Tool’s discerning guardians diligently enforced the rule, ejecting over three dozen misguided souls during the show. A few lucky souls escaped with warnings after proving their contrition by deleting their videos or images. But for the stubborn second-time offenders, there were no second chances. After the notes of “Invincible” reverberated, Maynard James Keenan, in a rare act of benevolence, granted the audience permission to whip out their phones to capture the ephemeral moment.
Tool may shun technology like cell phones, but they fully embrace cutting-edge light effects. The band’s unwavering commitment to privacy and mystique extends to the live experience as well; they avoid interviews and public appearances to ensure that all eyes remain on the music. Mark “Junior” Jacobson, Tool’s lighting virtuoso, orchestrates a symphony of lights, lasers, and screen images that synchronize seamlessly with every note change. This visual spectacle draws the audience even deeper into Tool’s sonic realm, amplifying the emotional resonance of the music and its profound messages.
The imagery displayed on the screens is nothing short of mind-bending. Volcanoes spew molten lava before transforming into the all-seeing Eye of Sauron, which seamlessly transitions into new, surreal landscapes. Fractal heads pour forth from other heads, while an eyeball twitches its iris over the captivated audience. Tongues spill forth from gaping mouths in an intoxicating loop, and alien-like forms twist and turn in eerie dance. It’s as though the most spine-tingling horror movie has met the soundtrack of your wildest dreams.
Crafting a subpar setlist is an impossibility for Tool, given their extensive catalog of exceptional, heavy songs accompanied by ethereal vocals. The journey began with the iconic “Fear Inoculum,” setting the stage for a mesmerizing odyssey. Favorites like “Jambi,” “Stinkfist,” and “The Pot” enraptured the crowd, intermingling with tracks from newer albums, such as “Culling Voices” and “Pneuma.” But the pièce de résistance came early on when Maynard declared that the band would resurrect a long-dormant song. The ensuing performance of “Rosetta Stoned” was a jaw-dropping revelation – a song not performed with live vocals since 2009, and it sent shockwaves through the enraptured crowd.
In the end, Tool’s concert is more than just a musical performance; it’s a transformative experience. With their strict rules, awe-inspiring visuals, and an undeniably majestic setlist, Tool is not just a band; they’re an otherworldly force of nature that sweeps you into a realm of unparalleled sonic and visual artistry. Tool fans may be a vocal bunch, but when it comes to experiencing their live show, words alone can’t do justice to the transcendental journey they offer.
Tool – Blue Cross Arena, Rochester, NY – Monday, November 6, 2023
Setlist: Third Eye Intro, Fear Inoculum, Jambi, The Pot, Rosetta Stoned, Pneuma, Descending, The Grudge, Intermission, Chocolate Chip Trip, Culling Voices, Invincible, (Ions excerpt) Encore: Stinkfist
Upcoming tour dates:
November 10 – Uncasville, CT – Mohegan Sun Arena November 13 – Manchester, NH – SNHU Arena November 15 – Boston, MA – TD Garden November 16 – Philadelphia, PA – Wells Fargo Center November 19 – Montreal, QC – Bell Center November 20 – Toronto, ON – Scotiabank Arena November 21 – Toronto, ON – Scotiabank Arena
English indie pop artist The Japanese House played a sold out show at Webster Hall last week on November 2 with support from Quinnie.
The Japanese House at Webster Hall. Photography by David Reichmann (@davidpresspass)
Fronted by singer Amber Mary Bain, The Japanese House released their second studio album, In The End it Always Does on Dirty Hit Records earlier this year. The album included hit single “Sunshine Baby,” which features vocals from The 1975 frontman Matty Healy. Notable features on the record also included Bon Iver’s Justin Vernon, Muna, and Charli XCX.
Quinnie plays Webster Hall. Photograph by David Reichmann (@davidpresspass)
Quinnie opened the show, playing delightful melodies full of charming and quirky lyrics. Fans packed in early for the show, filling up the venue before her set. Her set was met with big applause.
The Japanese House
The Japanese House played a powerful set featuring highs that shook the room with fans jumping up and down, and sorrowful lows that left a hush over the audience. Several fans could be seen crying during various moments throughout the show. The energy only increased from song to song, culminating in the main set’s final song, “Dionne (featuring Justin Vernon).” For the final song of the encore, they played fan favorite “Sunshine Baby.”
The Japanese House North American tour continues, and you can listen to their music here. Check out future tour dates here. Listen to Quinnie here.
Check out our gallery from staff contributor David Reichmann below.
Ambrose Getz, a Brooklyn-based pop artist, has released her newest album, Great House of Embers, which showcases her musical talent, as well as her impactful storytelling capabilities surrounding women’s experiences in today’s society.
Ambrose Getz deconstructs and reconstructs various genres, including American folk music, Bossa Nova, classic rock, 40s jazz, and more. Getz recorded with a talented group of international musicians consisting of Almog Sharvit (also the producer), Ben Silashi, Tal Yahalom, and Micha Gilad. Emerging from the indie art-pop scene in Brooklyn, Getz has built a network of artists who inspire each other to reconsider American identity. They’re all top-notch musicians she knew could complement her range.
Her current band that contributed to House of Embers consists of Almog Sharvit (bass, production), Ben Silashi (drums), Tal Yahalom (electric guitar), Micha Gilad (keys), Noah Rott (additional keys), David Leon (saxophone & flute on “Black Hole”), Hila Tako (background vox on “Grace”), Lisa Hoppe (string arrangements), Bergamot Quartet (“Arms Around Her,” “Carrie”), Ledah Finck (violin), Sarah Thomas (violin), Amy Tan (viola), Irene Han (cello).
Throughout the record’s nine tracks, Getz showcases her fluency in many styles, all run through an art pop filter a la St. Vincent or Bjork. Synths, strings, and electric guitars blend with jazz-inspired percussion as Getz’s voice delivers the lyrics. Ambrose released the single and accompanying video for the jazz-influenced beauty of a song, “Starlight.”
“Starlight is about staying up past midnight, waiting for your crush to call. I wrote it on one of those long nights, losing myself in romanticism, knowing it was foolish to hope and laughing at myself for hoping anyway.”
Ambrose Getz
Wanting the song to transport the listener (the same way the jazz standards of the 40’s and 50’s do), after recording the song with her band, Ambrose added a special guest feature: a string arrangement composed by Berlin-based bassist Lisa Hoppe and performed by Brooklyn-based string quartet Bergamot Quartet.
For the video, Ambrose and the band continued their theme of featuring women-led projects and performers with the addition of the directing team Las Lauras (Laura Sofía Pérez & Laura Isabel Tropi). Visually, they riffed on the theme of waiting through picking flowers and playing musical instruments. The video was shot by Lucas Hrabal, edited by Almog Sharvit, and colored by Alexey Zavolokin.
The appeal of dynamic innovators like Getz and her collaborators lies in their ability to create work that defies passing trends.
Ambrose Getz
Sometimes Getz’s adventurous spirit means adding synths and strings to a song inspired by jazz standards (“Starlight”), and sometimes it means crunchy guitars and twinkling synths (“Fantasies”). “Mary Awakens” takes a psychedelic detour through clips of Getz’s aunt speaking, girl-group harmonies, and a walking bassline. Getz has a strong, adaptable voice reminiscent of Suzanne Vega’s, and she uses every bit of it.
“When I wrote the song ‘Great House of Embers,’ I was thinking about JFK’s 1961 speech where he called America a “city upon a hill” and how Americans believed we had to be an example for other nations. My generation now sees the destruction our country has caused. Visualize a giant house on a big hill that has been on fire for a hundred years and is reduced to embers. That’s what my generation inherited.”
Ambrose Getz
Singing loud, breaking forms, and telling complex stories converge in the album’s themes. The title track was inspired by Citizenfour, a documentary by Laura Poitras about NSA surveillance brought to light by Edward Snowden.
An avid reader, one of Getz’s favorite writers is Nobel laureate Alice Munro, whose work serves as inspiration for the song “Grace.” Getz’s said, “Her writing always has a subtle flip that can turn you on your head. She was the first author I read who consistently centered women’s stories, with depth and darkness and subtlety.” This influence is evident in Getz’s own lyrics, which deliberately delve into the experiences of women across generations, crafting narratives that are so apt and thought-provoking that they are sure to spark conversations between mothers and daughters. Through her shrewd songs about women’s lives, Getz shines a light on the cultural legacies we inherit both politically and personally. Her lyrics offer a keen insight into the complexities of these legacies, inviting us to explore and challenge the narratives that shape our understanding of women’s experiences.
Getz never sacrifices the music for the message, as you can hear on debut single “Black Hole.” Written to be “dark and danceable,” the lyrics personify capitalism as an insatiable femme fatale, echoed in the music video directed by Margot Bennett and filmed by Eurica Yu. The video’s imagery—shot with dark backgrounds—pulls the viewer into a world where the allure of capitalism is as irresistible as it is dangerous. A single spotlight follows Getz, clad in androgynous black and white and sporting alarm-call red lipstick. Those images intercut with scenes of Getz wearing skintight black clothing and dancing, her red hair catching the light.
Rather than posit herself as a victim of zeitgeist or a savior for our times, Getz offers candor and imagery alongside her range of musical styles. “Ultimately I see myself as an artist who writes songs that center women’s stories,” she says. Just as she asks what Americans inherited socio-politically, she looks to the women in her family to investigate what she has inherited personally. “Many of the songs on this album are short stories about my female relatives. ‘Mary Awakens’ is for my aunt, Mary Frances Ambrose, and ‘Carrie’ is for my maternal grandmother.”
With Great House of Embers, Ambrose Getz adds another valuable record for the future to inherit. It’s a snapshot of a dark time illuminated by the hope of innovation.
The strings in her music are captivating, especially in the song “Arms Around Her,” which adds a classy feel and really creates a beautiful blend between the background music and the vocals.
Every song is a little different and she truly showcases her abilities both in songwriting, but also in adapting to different genres. “Carrie” sounds more pop-influenced with a little country, while “Black Hole” is jazzy, and “Great House of Embers” might even have a little bit of rock influence.
Many artists claim to be “breaking” genres, but this album is actually doing it.
The music of the late, great Warren Zevon is celebrated on the new live album Shooter Jennings and the Werewolves of Los Angeles Do Zevon, released on Friday, November 3.
Recorded at Monterey, CA’s Revels and Renegades Music Festival, Jennings leads the Werewolves of Los Angeles and channels Zevon’s music with precision and enthusiasm behind each song.
The outlaw country legend, and son of original outlaw Waylon Jennings, Shooter brings together multi-instrumentalist Brian Whelan (Dwight Yoakam, Jim Lauderdale) and his longtime collaborators Jamie Douglass (drums), Ted Russell Kamp (bass) and John Schreffler (guitar) for an ideal mix of Warren Zevon for lifelong fans, casual fans and new fans.
The band performed earlier this year during GRAMMY week at the Roxy Theatre in West Hollywood, and just this week, on November 1, performed the set to a sold-out Brooklyn Made.
Featuring popular songs (“Excitable Boy,” “Werewolves of London”), deep cuts (“Mohammad’s Radio,” “Mama Couldn’t be Persuaded”) and final album tracks (The Wind’s “Dirty Life and Times,” “Keep Me in Your Heart”), there is something for everyone in a well laid out flow, capped off with Zevon’s autobiographical “Desperados Under the Eaves.”
This last year we had a blast doing two separate shows paying tribute to one of my favorite artists of all time, Los Angeles legend Warren Zevon. When Zevon was picked to be potentially inducted into the Rock & Roll Hall of Fame this year we, along with millions of Zevon fans, were hoping that he would finally get his due in the halls of Rock & Roll History.
Unfortunately, Zevon didn’t make it in this year and won’t be honored tomorrow night in New York City at the Rock & Roll Hall of Fame ceremony. Upon hearing this news, the Werewolves of Los Angeles gathered in our Wolfcave to discuss what we could do about it. We decided that even though Warren wasn’t going into the Hall of Fame, we could take a special trip up to New York City this week and do our own celebration of Warren’s bad-ass music.
Shooter Jennings
Shooter – a three-time GRAMMY Award winner, founder of Black Country Rock (a label and multimedia outlet), and host of “Shooter Jennings’ Electric Rodeo” on Sirius XM’s Outlaw Country channel – takes on a rock and roll legend still searching for a heart, and recognition for the indelible influence and mark Zevon left on rock n roll and Los Angeles. That recognition continues on through Shooter Jennings and the Werewolves of Los Angeles Do Zevon.
On October 31, The Paper Kites and touring guest The Roadhouse Band performed together at New York City’s Racket. On their North American Tour, The Paper Kites are celebrating their new record At The Roadhouse, an artistic project birthed between the four walls of a dive bar in Australia that fans all across the world are holding close to their hearts today.
With the epitome of an autumnal sound combined with the holiday atmosphere, The Paper Kites pulled in the proper crowd: costume-enthusiast folk fanatics.
Photograph by Shauna Hilferty
A crowd with creative costume ideas slowly filled the warehouse venue in the Meatpacking District. Spiderman, Peach and Mario, and plenty of Bob Dylan‘s mingled while awaiting the opening set. At 8:00 PM, The Cactus Blossoms casually strummed into their first song. With only an acoustic and an electric guitar paired with soothing vocals, the duo provided a warm opening performance. They expressed their gratitude to be on their first ever tour, and even more so they praised The Paper Kites for the opportunity and their musical influence.
Photograph by Shauna Hilferty
Shortly after the Cactus Blossoms made their way off the stage, the stage crew decorated the space with an arsenal of instruments. True to The Paper Kites’ rich production value, each instrument that can be intentionally heard on their newest album was prepped and ready to be used on stage. Multiple forms of percussion, a collection of strings, an organ, electric keys, and the iconic vintage-looking microphone sat waiting to be given life.
Once their signature drapes were hung across the back of the stage, the lights dimmed and each band member made their way onto stage. Eight people on stage seemed like it would be tight, but the congealed bands stitched together comfortably, and so did their sound.
Photograph by Shauna Hilferty
The traditional lead of an acoustic guitar through their melody was threaded with the most intentional additions of twangy strings of banjos and mandolins, the romantic hum of the organ, the tune of the harmonica, and the heartbeat of various drums. If there’s one thing The Paper Kites are, it is consistent – consistently impressive. With a memorable setlist it can become difficult to entertain returning fans, but The Paper Kites routinely delivers a unique listening experience that bends the confines of genre labels through experimentation and passion.
On stage stood eight music connoisseurs. Lead vocalist; Sam Bentley, on the guitar and the banjo; Dave Powys, on the pedal steel and guitar; Matt Dixon, on drums; Josh Bentley, on the bass; Sam Rasmussen, on the organ and percussion; Hannah Cameron, on strings and cowbell; Chris Panousakis, and the multi-instrumentalist and vocalist; Hadley Kennary.
Photograph by Shauna Hilferty
From their last performance in New York City at Williamsburg Music Hall, their audience has grown – not just in size, but in comfortability. Throughout the show, fans openly conversed with each other and the band members in a respectful manner. Cooing that the song being performed was the song that was playing when they met the love of their life, or politely begging for their favorite oldies to be played. The Paper Kites’s lead vocalist, Sam Bentley, joked and reminisced with the audience all evening. It was truly refreshing, especially for a typically quiet audience.
Photograph by Shauna Hilferty
Midway through their performance, The Paper Kites quintuplet and The Roadhouse Band gathered around their signature microphone to sing a stripped version of the Kite’s hit “Bloom” from their oldest record “Woodland.” This is a treasured moment during a Paper Kites performance. Their sound becomes almost tangible in the room, with raw harmonies and only root instrumentals. A wash of peace laid over the audience, for their attention was devoted to the intimate production happening on stage.
Photograph by Shauna Hilferty
An applause full of raised hands in praise and hollers from the chest lasted for over a minute. Smiles overtook The Paper Kites’ faces as they made room once more for The Roadhouse Band. Each of the string players made the swap for more bassy instruments as Sam Bentley edged, “Now this is the part of the set where we play some louder songs.” As soon as the first chord of Dave Powys’ electric guitar ripped, the strobe lights were released into motion across the faces in the crowd.
Photograph by Shauna Hilferty
One of their new songs, “Black & Thunder,” was a crowd favorite. The soulful riffs and plunge of the bass emitted a similar sound to that of Fleetwood Mac’s “Rhiannon.” On stage the band members tapped their feet to the beat and visibly felt the command of their instruments, as they swayed and jolted their shoulders.
Photograph by Shauna Hilferty
After a few songs, they returned home to their usual earthy gentle tone to close out the show. They sang songs from their record “On The Train Ride Home” that references New York City, which spoke to the audience on personal levels. Tears streamed down the faces of some while smiles stretched across the faces of others. Underneath the lights, a world was formed – a small culmination of vast lives all affected by the same poetry.
The Paper Kites finished out their Halloween performance with an encore, singing some oldies that were wished for to send off the audience with a memorable evening. Once the lights came on, The Paper Kites and The Roadhouse Band said their thanks and bid their farewells to their New York City crowd.
Rock and roll band Dirty Honey released their second studio record, Can’t Find The Breaks, on Friday, November 3. The band now features bassist Justin Smolian, guitarist John Notto, drummer Jayden Bean, and Niskayuna, NY native Marc LaBelle on lead vocals. Can’t Find The Breaks features 11 songs and has a total run time of 46 minutes.
Photo Courtesy: therockpit.net
Dirty Honey was finally able to release new music for the first time in two years after constantly touring as an opener for bands like Guns N’ Roses or headlining their own shows. Can’t Find The Breaks is a breath of fresh air for a modern band with a classic rock vibe that makes fans reminiscent of the Golden Age of Led Zeppelin, The Black Crowes, and Aerosmith.
The band is leading the charge in the resurrection of rock and roll music. Outside of The Struts and Mammoth WVH, there hasn’t been a new band for the younger generation of rock fans to feast on. Dirty Honey is carrying the metaphoric rock and roll flag as the band continues to get bigger and bigger.
Can’t Find the Brakes, to me, is pretty descriptive of what our life is right now. We are just on this out-of-control rock n roll train that is off the tracks and we don’t know where it’s going, but we’re down for the ride.
Marc LaBelle
The second track of the record, “Won’t Take Me Alive,” was one of the first singles off of the record. It’s easy to see why the band chose to release this song as the first single. Bean keeps the beat of the track moving forward while Notto provides the catchy riffs that keep fans air guitaring from start to finish.
On “Get A Little High,” LaBelle is able to show off his impressive vocal range. LaBelle has always had the vocal range of an Axl Rose mixed in with Chris Robinson and the wonderful chorus behind him adds to the total wall of sound from the rest of the band. Notto provides one of his most melodic solos to date showing that he has learned a thing or two from touring the world with guitar gods like Pete Townshend of The Who and Slash.
The final track that stands out the most on Dirty Honey’s sophomore record is “Coming Home (Ballad of the Shire).” The beautiful acoustic song sends shivers down listeners’ spines and gives them goosebumps as the band sings in perfect harmony on the chorus of this record. This peaceful ballad is a complete 180 from the in-your-face rock and roll that they’re used to, yet it fits the band perfectly.
In support of their brand new record, Dirty Honey is trekking across the United States with special guest Austin Meade.
Harold Bronson is a true rock-n-roll Zelig. He’s an everywhere man who began his career as a teenage rock journalist before rising to become co-founder of Rhino Records, the revered label that has put decades of often overlooked and unappreciated music back into circulation to the delight of both lifelong fans and new generations of music lovers.
Before he co-founded America’s leading re-issue label, Bronson was just another Southern California kid who was mad about music. He channeled his passion and discerning ear into writing about music, first for the UCLA Daily Bruin then with Rolling Stone, Hit Parader, Melody Maker and many other magazines. After interviewing many of the greats, he helped co-found, with Richard Foos, Rhino Records from the back of Foos’ record store. The label was created to release novelty records like those of Dr. Demento and Wild Man Fischer. But, most importantly, it would go on to re-issue classic sounds and many unheard gems from the catalogs of artists who were critically undervalued at the time like Arthur Lee & Love and The Monkees.
Bronson’s book is very much a diary, one rendered with day-by-day entries. It begins in the Summer of Love with him journalizing his critical take on, and the price paid for, albums like Procol Harum’s Shine on Brightly and The Beatles’ White Album. There’s also his mini-reviews of the many concerts he attended by artists like Jimi Hendrix, Soft Machine and The Vanilla Fudge. Soon, Bronson is getting his first paid work – an interview for Entertainment World with the Bee Gees’ Maurice Gibb. Bronson hauls his massive reel-to-reel tape recorder to the interview, one where Gibb delights in telling him a stream of lies such as that he played and sang on The Beatles’ Abbey Road. In short order, Bronson is publishing features with artist like Cat Stevens (he looks like a “gypsy carnival worker”), Van Dyke Parks (who shows him “the future” from his office at Warner Brothers – the first fiber optic cable) and famed British session pianist Nicky Hopkins (who mistakes Jeff Beck for Mick Jagger at his first Rolling Stones’ meeting and who badmouths The Kinks for never paying him for his session work with them). There are also notables like comedian George Carlin and The Doors’ manager Danny Sugerman who he will interview repeatedly and forge lifelong friendships with.
Bronson’s life kicks into high gear in 1974, when he takes a job managing the Rhino Records store in L.A. Soon, Bronson and Foos will launch their label with novelty records by artists like Wild Man Fischer (the certifiably insane street singer discovered by Frank Zappa), The Temple City Kazoo Orchestra (with whom he makes appearances on national TV shows) and a reissue of tracks by comedian Alan Sherman of Hello Mudda, Hello Fadda fame. But Bronson and Rhino’s true worth would come with their lovingly crafted re-issues like the 1995 box set, Love Story (1966 – 1972). Bronson would have a long history with Arthur Lee, the band’s mercurial leader, a man he calls “an arrogant Muhammad Ali.”
https://youtu.be/ML1OS_1zuHY?si=ZJSH-4a4HB2Mjyya
Bronson’s book is chockful of humorous meetings with the likes of Iggy Pop (who asks for money to get wine and 10 aspirin at tackle a hangover), ELO’s Jeff Lynne (who confesses he can only write melodies between 10 am and noon) and Howard Kaylan (who recalls snorting coke off Abe Lincoln’s desk during a visit to the Nixon White House with his band, The Turtles). Also revealed is how Richard Delvy, a former surf musician/music entrepreneur, won the rights to “Wipeout” in a poker game.
Rhino Records would get much bigger until Bronson left the company in October 2001. Before that, there would be many acquisitions and partnerships that would find Bronson in the midst of many bigger things, such as bringing The Monkees TV show to a new generation via MTV and ultimately managing their careers, going into business with one his idols, Frank Zappa, on the Beat the Boots project and more. There’s even a cameo by the odious MAGA architect, Steve Bannon, during his days as a venture capitalist.
Credit should go to longtime music journalist Ira Robbins who is the driving force behind Trouser Press Books, the publisher of this and other fine releases reviewed here at NYSMusic. If you like Bronson’s LA-centric rock time trip, be sure to check out another Trouser Press book, Rock’s In My Head. This is the memoir of Art Fein chronicling his six decades in the California music scene, drawn from over 10,000 page of diaries he kept. For 20 years, he was the host of Art Fein’s Poker Party, a decidedly offbeat, ultra-low budget public affairs spectacular where the cream of music – from Phil Spector and Tom Waits to Joe Strummer and the Stray Cats – let down their guard over sometimes friendly, sometimes fierce games of cards.
Buffalo-based rock group Timothy Alice & The Dead Star Band released their sophomore record, Used Cars, on November 3. The 8-track album is a follow up to their 2019 debut release, Spacestation AM500.
Timothy Alice & The Dead Star Band formed in 2018 in Buffalo, with a collaboration of longtime friends. The band consists of Timothy Patrick Henderson, Matt DiStasio (drums), and Bub Crumlish on bass.
The first track on Used Cars, a title track, is a strong start to the record. With resonant guitars, crooning vocals, and a tempo that urges the listener to sway back and forth, “Used Cars” is a easy yet captivating first track on the group’s sophomore album
The fifth track on the record, “North of the Border,” stands out energetically against the rest of the record. This song picks up the pace significantly, and shapes a tangible story throughout the track. The only drawback is the shorter run time of only 2:18, as it is certainly a notable favorite on the album.
“Winning Number,” the sixth track on Used Cars, slows back down just slightly, but not to any disadvantage. “Winning Number” evokes more personality from the vocal intonations, with Henderson’s speak-singing throughout the verses. The track has a captivating outro sequence of guitars and other indecipherable instruments, reminiscent of U2’s “Bad.”
Used Cars is the sophomore album from Timothy Alice & The Dead Star Band, available on all streaming platforms on November 3. Timothy Alice & The Dead Star Band is Timothy Patrick Henderson, Matt DiStasio, and Bub Crumlish.
