#where's the new album marra

[popentertainmentconcertreviews]

Hozier & Allison Russell – Freedom Mortgage Pavilion – Camden, NJ – May 25, 2024

Hozier Takes Fans to Church.

Following the release of his newest album Unreal Unearth, Hozier kicked off his 2024 Tour playing cities across the US including Houston, Los Angeles, St. Louis, and Camden, where we were lucky enough to catch the show. Fans traveled from states away to attend the show and after being there, I understand why. 

The night began with an enchanting performance by Canadian singer-songwriter Allison Russell, who has worked with Hozier on several occasions. Russell’s performance was raw, soulful, and spiritual all in one, mesmerizing all 25,000 attendees. An opening act rarely has an impact on an audience, but Russell was one of the few who beat those odds. Fans were just as tuned into her set as they were Hozier’s, which was beautiful to see. Luckily for attendees, the end of Russell’s set was not the last we would be seeing her that night – she came out later to sing “Wildflower and Barley” alongside Hozier. Her performance was absolutely incredible. 

When Hozier finally took the stage, the arena shook with anticipation. The lights began to dim, and the buzz of fans grew louder and louder until all anyone could hear was the opening notes to “De-Selby (Part 1).” Though the lights were dimmed, you could make out the silhouette of everyone’s favorite Irishman. The atmosphere grew even more electric when the stage lit up and Hozier’s powerful vocals filled the arena. Right off the bat, it was obvious that he has an amazing stage presence and knows how to connect with an audience. Hozier then went on to play fan favorites “Francesca,” “From Eden,” and “That Would I.”

Not only was the music at the concert magnificent but each song was accompanied by captivating backdrop visuals that coincided with a thematic stage setup, mimicking that of a forest. The visuals and production value were off the charts. With each song, came different colors and vibes, which made the performance that much more enthralling.  

Throughout the evening, fans were sent through a whirlwind of emotions as Hozier took the audience through his catalog, mixing old songs with new ones. When he began playing “Too Sweet,” every single person in the venue jumped to their feet, ready to dance and scream the lyrics, and oh, they did. Up next was “Almost (Sweet Music)” which sent fans into a frenzy, as it is a fan-wide favorite. Every. Person. Knew all of the lyrics. It was such a beautiful thing to experience. Moments like this prove that music has the power to bring such a diverse group of people together, even if it’s just for a few minutes.

 After performing his hit single “Take Me to Church,” Hozier disappeared from the stage for a few minutes. Fans anticipated his appearance for the encore on the main stage, but he surprised them by performing his last three songs on a b-stage in the middle of the stands. The encore included “Cherry Wine,” “Nina Cried Power,” and finally everyone’s favorite ballad “Work Song.” It is such a rarity to see artists connect with their supporters as much as Hozier does.

Hozier’s 2024 Unreal Unearth has made it to my list of must-see tours. Between his incredible catalog, unmatched stage presence, and stunning stage production, you’re doing yourself a disservice by not attending this tour. Not only would fans be satisfied with his impressive and cumulative setlist, but non-fans would have just as good of a time due to Hozier’s showmanship and talent. I’m not kidding when I say this is one of the shows of the summer. 

Kayla Marra

Copyright ©2024 PopEntertainment.com. All rights reserved. Posted: May 27, 2024.

Photos by Kayla Marra © 2024. All rights reserved.

[most-generic-username]

So, i am an avid hater of the finnish language. i consume most of my media in english and alot of the time speaking in finnish makes me cringe my heart out.

BUT sometimes it can be a such a pretty language.

August in finnish is elokuu and november is marraskuu. elo means life or living and marras means dead (not so commonly used but still).

i was just talking with my friend about how august and november are so similar yet so different. they both end their respective seasons. they both are usually the end of many beautiful things. almost like the final song of an album. yet they still start something new. and where August celebrates what has happened, november prepares for whats to come.

idk maybe im just very tired right now and this feels more significant than it rly is. regardless i wanted to share it with maybe even one person

[howdon-aldi-death-queue]

Sam for Amazing Radio sessions – July 8, 2013

[gracie-bird]

‘We preferred a pint to a princess!’ — Grace Kelly’s famous trip to Tannadice remembered 35 years on.

In 1981 the couple flew into Scotland to stay with friends in Meigle before travelling to watch Monaco’s UEFA Cup tie against Dundee United at Tannadice on September 30. 

© DC Thomson

Princess Grace at Tannadice.

It would be her last visit to Britain before her tragic death a year later.

Monaco was 5-2 down from the first leg but won 2-1 on the night.

Dundee singer/songwriter Michael Marra alluded to Grace Kelly’s appearance in front of the Taylor Brothers Coal sign in the song Hamish which he later recorded for United goalkeeper Hamish McAlpine’s testimonial.

© DC Thomson

Hamish McAlpine at Tannadice.

Recalling the visit 35 years on, McAlpine said the players didn’t get to meet one of the world’s most famous women – preferring a pint to a princess.

McAlpine said: “We were 5-1 up when I misjudged a deep cross in the 89th minute.

“The boys were slagging me off but I said: ‘Look, we had to let them score or they wouldn’t turn up for the second game’.

“It might have been Monaco but we just treated it as another game.

© DC Thomson

How The Courier reported the visit.

“The return leg was when Prince Rainier and Grace Kelly came to Tannadice – but we didn’t meet them; I think we were more interested in getting to the pub after the game!

“Michael immortalised their visit in the song and it was absolutely true – there was a big sign that said ‘Taylor Brothers Coal’ and I think that was where they were sitting.”

Big-haired 70s pop legend Leo Sayer later fell in love with the song and was just as intrigued by the goalkeeper who had inspired it.

He recorded his own version and even turned up in Dundee to ask locals if McAlpine was just like he was portrayed in the song.

It turned out he was and Sayer had a new hero to worship.

McAlpine said: “I was humbled when I read the lyrics and I thought, ‘This goalie must be damn good!’

“I should be sick of it but I still have a great affection for it.

“I know Leo Sayer recorded it and I remember hearing it but I didn’t realise Leo was such a big fan of mine.”

© DC Thomson

Prince Rainier III and Princess Grace at Edinburgh Airport in 1981 after flying in for the game in Dundee.

United regularly played in Europe during the Jim McLean glory years but McAlpine said they just took every game as it came.

McAlpine said the team were unlucky not to win more trophies, especially in Europe, where they went close twice.

He said: “These were massive teams we were playing but I think over the piece we gave a great account of ourselves in the European escapades.”

As for a singing date with Leo Sayer when he brings his tour to Scotland next year, McAlpine is already warming up the vocal chords.

“I know that Leo is coming to the UK next year so he might yet get to sing it on the pitch at Tannadice – maybe I should warm up my throat and sing it with him!

“Leo singing it on the pitch at a promotion party – that wouldn’t be too bad; we just have to hope.”

“Hamish McAlpine was an amazing character” — Leo Sayer

Sayer’s version of the song – which he recorded in the 1980s – was lost for 20 years until Michael Marra’s son eventually dug it out while tidying up.

Sayer recalled: “The song was written for his testimonial game by another local hero – songwriter Michael Marra.

“When I met him in London we became instant friends.

“When amongst other songs he played me Hamish, I thought it was great and had to record it.”

Marra’s song Hamish was recorded for McAlpine’s testimonial in 1983 and was later included on his album On Stolen Stationary in 1991.

“Hamish McAlpine was an amazing character,” said Sayer.

“He was a mighty kicker, had guts and determination, inspired the crowd like a true hero, conducting the fans’ singing while brilliantly protecting United’s woodwork.

“He lifted so many spirits during his playing years; it’s a wonder he’s not on any honours list.

“When I first heard the song, I was so intrigued by his legend that I just had to find out more.

“So, on a couple of visits to Dundee, I asked some local folk about him.

“I found out he was just like he was portrayed in the song.”

Sayer gave his blessing for his version of the song to be used on a fundraising album.

SOURCE:https://www.thecourier.co.uk/fp/news/local/dundee/292388/preferred-pint-princess-grace-kellys-famous-trip-tannadice-remembered-35-years/

[sneakydragon]

Sneaky Dragon Listening Party - Ep. 46

Hello, partygoers! Welcome back to the rumpus room! Around here we like to say, “Go long or go…short.[?]” and this week we went really, really long.

We decided to do one more “taking a break” episode of the Listening Party for this bi-week as we take some time to respond to listener mail as well as give your Top 5 Songs lists a spin on the old Victrola.

We are listening to the following songs sent in – perhaps – by YOU!!!

Mary’s Top 5 “Songs That Aren’t Available on Spotify”:

The Chairmen of the Board – “Give Me Just a Little More Time” – The Chairmen of the Board, 1970 – 19:02

Harvey Danger – “Flagpole Sitta” – Where Have All the Merrymakers Gone?, 1997 – 22:36

Joanna Newsom – “The Sprout and the Bean” – The Milk-Eyed Mender, 2004 – 27:46

The High Llamas – “Nomads” – Hawaii, 1996 – 33:53

Local Rabbits – “Play On” – Basic Concept, 1998 – 40:59

Chris Robert’s Top 5 Songs about Heaven/Paradise:

Joan Armatrading – “Heaven” – Track Record, 1983 – 1:50:33

Eliza Gilkyson – “Paradise Hotel” – Paradise Hotel, 2005 – 1:56:31

Randy Newman – “How Great Our Lord” – Faust, 1995 – 2:01:45

Pixies – “Monkey Gone to Heaven” – Doolittle, 1988 – 2:06:54

Michael Marra – “Heaven’s Hound” – Houseroom, 2012 – 2:11:52

Louise’s Top 5 Dancing Songs that Mention Moonlight:

Van Morrison – “Moondance” – Moondance, 1970 – 2:21:28

King Harvest – “Dancing in the Moonlight” – Dancing in the Moonlight, 1970 – 2:26:47

Sixpence None the Richer – “Kiss Me” – Sixpence None the Richer, 1997 – 2:30:52

Neil Young – “Harvest Moon” – Harvest Moon, 1992 – 2:35:52

The Kinks – “Come Dancing” – State of Confusion, 1983 – 2:41:46

Bonus Top 5 Dancing Songs that Mention Moonlight Song:

Loreena McKennitt – “All Soul’s Night” – The Visit, 1992 – 2:49:07

Nine-Years Old Louise’s Top 5 Partridge Family Songs:

(Good for playing while removing the bubble gum from your waist-length hair)

The Partridge Family – “Point Me in the Direction of Albuquerque” – The Partridge Family Album, 1970 – 2:55:56

The Partridge Family – “Somebody Wants to Love You” – The Partridge Family Album, 1970 – 3:02:43

The Partridge Family – “Rainmaker” – The Partridge Family Sound Magazine, 1971 – 3:09:24

The Partridge Family – “I Think I Love You” – The Partridge Family Album, 1970 – 3:12:56

The Partridge Family – “Only a Moment Ago” – The Partridge Family Album, 1970 – 3:17:20

Chris Robert’s Bonus Top 5 Mountain Songs suggestion:

Ian Hunter – “Walking with a Mountain/Rock’n’Roll Queen” – Welcome to the Club, 1980 – 3:22:37

Chris Robert’s Top 5 Science Songs:

Kate and Anna McGarrigle – “NaCl” – Pronto Monto, 1976 – 3:29:13

Big Audio Dynamite – “E=mc2” – This is Big Audio Dynamite, 1985 – 3:33:01

They Might Be Giants – “Mammal” – Apollo 18, 1992 – 3:41:31

Tom Lehrer – “Werner Von Braun” – That Was the Year That Was, 1965 – 3:45:59

The Blind Boys of Alabama – “(Jesus Hits Like the) Atom Bomb” – Atom Bomb, 2005 – 3:50:33

Bonus Top 5 Science Song:

Fountains of Wayne – “Supercollider” – Welcome Interstate Managers, 2003 – 3:53:40

Mark Dobrovolsky’s Top 5 Favourite Songs of the Moment:

The Zombies – “Care of Cell 44” – Odyssey and Oracle, 1968 – 4:06:22

The Tragically Hip – “Thompson Girl” – Phantom Power, 1998 – 4:14:50

George Harrison – “Shanghai Surprise” – Cloud Nine, 1987 – 4:18:53

Little Steven – “Bitter Fruit” – Freedom, No Compromise, 1987 – 4:26:01

The Rutles – “Hey, Mister” – Archeology, 1996 – 4:30:54

Thanks for listening.

https://media.blubrry.com/sneakydragon/p/content.blubrry.com/sneakydragon/Sneaky_Dragon_Listening_Party_46.mp3

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Sneaky Dragon Listening Party – Ep. 46 was originally published on Sneaky Dragon

[blschaos3000-blog]

Its 3:52 pm

Welcome to “8 Questions with…..”

In doing this series and especially of late,I have been really blessed to be able to talk to a lot artists that I have on a “wish list”. These are people whom I really want to talk with but I don’t think I’ll get a chance to. Ashley Kate Adams was on the list. I first was introduced to Ashley Kate and her talent when the cheetah and I watched a excellent film called “1 Message“. Its a story about a young woman who gets breast cancer amd who is slowly falling into a deep depression. When the young woman meets a man online while tracking down her family tree,the connection changes her life on so many levels. This is a movie that I loved quite a bit and I thought Ashley Kate Adams did a great job in what I found later was her feature film debut and she was only 21 when she filmed it. Since then I have been following her career and chatting once in a while on Twitter. Last week I decided to take a chance and ask Ashley Kate for a interview and to my surprise answered “Yes,I do” within 5 minutes. While we were talking,I asked about her new big project,”Boy Hero” which is set during the 1954 Senate Comic Book Hearings and where publisher Williams Gaines and his legendary EC Comics were grilled because of the content.  It was also during the height of McCarthyism and the Hollywood blacklisting,a dark and despairing time (as well as a forgotten period). As soon as we as a society are allowed ,Ashley Kate is kicking “Boy Hero” into high gear and we’ll be posting updates on how the film is progressing. * As you can see,Ashley Kate is a woman on the go,go,go!!  I am so happy that we got a chance to catch her in mid-stride so she could slow down enough to answer her 8 Questions…….

Please introduce yourself and tell us about your latest project?

Hello! My name is Ashley Kate Adams & I am an actress, producer & writer living in NYC! Right now we are so excited to be introducing Frankie! The Musical Cast Concept Album to the world. It releases this Friday, May 29th, on Broadway Records and will be available everywhere music can be streamed. Frankie! The Musical (@frankiemusical) is written by 16-year old Composer and light, Elise Marra. The album is produced by AKA Studio Productions & Mitchell Walker!     Our other main project is “Boy Hero”, a feature film inspired by the Comic Book Trials of 1954. I wrote the 1950’s period film which was inspired by a panel I saw called “When the American Librarian Saved Comics” by Carol Tilley. The film is rounding out development and will be Produced by AKA Studio Productions, Pigasus Pictures & AR Productions and will film in Cincinnati! Please follow us (@boyheromovie) for more exciting updates on fundraising development and production of the film. 

(Michael Kushner Photography)

How have you been coping with Covid-19 pandemic? How are you staying creative and focused?

   I have been thinking a lot about this recently. I’ve been coping with Covid-19 productively. I think many things prepared me for this, the main being thing being the sudden loss of my father in 2016 to cancer. During that time I had to learn to balance many things in conjunction with being completely gutted out with grief. During that time I turned to creating to heal myself and process my emotions so during this pandemic I have followed suit. I’ve actually been working at home with my production company since 2011 so that routine feels like a continuation. We were very lucky, we had just gotten many incredible projects like Frankie! in the can before it felt as if the world froze. Now these projects are able to bring joy to others during this time. On Friday’s I’ve been going LIVE with #BYOP to lead conversations on Grief & Productivity for the Creative @ashleykateadams on Instagram. It’s been important for me to try to help folks navigate this time! 

 When did you first catch the acting bug and what was the reaction like with your family and friends?

I don’t know if I ever caught the acting bug I was kind of just born into the industry. It is what our family does as our family business. You know some families might have a restaurant or a heating & cooling company, we are performers. My parents, who also majored in musical theatre in college (that’s how they met) were VERY honest with me about how hard my future was going to be to move to NYC and pursue this full-time but they knew it was what I was called to do. And I got to make space here for my sister 10 years my junior, Audrey Belle Adams, who recently began her adult career also based out of New York City. 

 How did you land the lead role in your first feature film “1 Message”? What three things did you take with you from the experience? How important is faith to you?

I actually landed my role in “1 Message” thanks to my father. He pitched me at a dinner meeting where the director happened to be. I then auditioned and got the role. That film taught me a lot. The first was that leading a film and being on camera 14 hours a day, 6 days a week is an extremely challenging job. Which leads me to the second thing, I learned how to treat actors on set. The “1 Message” experience is one that seeded in me the need to become an independent film producer to make sure I was always taking care of my actors in an extremely supportive way. Environment, transparency & discernment are everything on a project. The third thing I learned was how strong and aware I was even at a younger age on set. Faith is important to me. It is important to me to believe in something much bigger than yourself. 

(Michael Kushner Photography)

   Which do you like more? Doing TV/film work or live theater and why?

I love both equally but for different reasons. Right now I am very much falling deeper in love with film. I love learning and because I was raised literally at a theatre, in film there is still so much to learn for me. I love each new project on any side. It’s a blast to me navigating each nuance! 

(Michael Kushner Photography)

 What  have been the three pieces of advice given to you in regards to being a performer?

Wow! Great question. “Your best secret weapon is yourself”. That was taught to me by the head of my musical theatre program at CCM, Aubrey Berg. He was correct. I would say the next is to “Be a kind person who people enjoy working with” from Sandra Rivera of Dancensation Studios and the most recent from this past winter break  to “Keep saying yes to the right things and keep expanding” from one of my high school mentors, the great Gail Benedict. 

(Michael Kushner Photography)

 What roles challenge you most as an actress and how do you adapt to make the role yours?

Wheeew. For me the biggest challenge of my actor life was doing “A Christmas Carol(e)”, a one- woman show, directed & written by Alex Freeman. It was terrifying because it was only me on stage for 70 minutes. All I could do to survive it was to walk through it and continue to adapt. Every. Single. Second. I had to be truly present without a fourth wall. There was no protection, no sheen. I love hiding behind characters. I revel in it. It allows me space for courage to be more vulnerable. I’m a weirdo, my prep is usually reading, researching and then I adapt my breath and body. Everything else just kinda happens. The magic of acting! 

 How did the idea for #BYOP come about? What makes a good producer in your opinion?

#BYOP (Be Your Own Producer) came from seeing the need for it. As a producer, actor and creative I can only take on so many projects full time at once but #BYOP allows me to be available to you and your project on an hourly basis. It also teaches content creators how to producer so they can become sustainable and independent! During the pandemic it expanded to teaching these intentions in a group digital setting. The brand is continuing to grow and diversify. In development are many exciting new pieces, perhaps something you could listen to and something you can hold. Stay tuned and be sure to follow @ashleykateadams for updates! ! ; ) 

(Michael Kushner Photography)

You created a one woman show called “A Christmas Carole” for the theater, where did you come up with the idea and how hard is doing a one person production on a nightly basis?

I helped to create the show but I cannot take credit for the idea or writing on that one, that was my creative partner in crime, Alex Freeman. We put it up in 6 days with the help of our two amazing stage managers. It’s exhausting and exhilarating doing a one person production. I lived like a nun during the day to stay calm and preserve all of my energy for the performances. I still can’t believe I did it! 

 How important are awards to you as a performer?

Awards are not important to me as a performer, but the respect and nod that comes because of them is appreciated. I got my first best actress award in 2018 for Alex Freeman’s two-hander “Love” at the New York Theatre Festival. It’s hard being a woman in the business on every side. Especially as a Producer. So when a group of people decide not only that you  “did well” but that you should be “acknowledged”, that is nice. 

You love to sing,what makes a good song and which three Broadway scores would you love to sing if given a chance? Who is your favorite singer/band at this moment?

I do love to sing! It’s a part of my identity even though I’ve been more internal as of late with my creativity. I would say three Broadway scores I would love to sing through would be “Waitress”, “Sunday in the Park with George” and “The Sound of Music”. My favorite singer is my sister, Audrey Belle Adams @abelleadams, always and forever because she has the most flexible vocal instrument I have ever heard and my favorite band right now is M.N.O.P. @MNOP_music. They have rockin’ folk punk music, a kick butt lead female singer & a really cute drummer : ) 

 How important is self-promotion to you and your career? 

Self-Promotion is a large part of a creative career. In the age of social media & “influencers”, it has to be. I have not always been good at it. I had to learn to produce others to get comfortable producing & promoting myself. 

 What do you like to do on your down time?

In my downtime I like doing yoga, going on walks, listening to true crime podcasts, reading, taking class and spending time with my loved ones. 

 The cheetah and I are flying over to watch to you in “A Christmas Carol(e)” but we are a day early and now you are stuck playing tour guide,what are we doing?

If A Christmas Carol(e) played NYC and there was a day off I would say to spend the morning in Central Park, afternoon around Bryant Park popping into the Strand Book Store & the Bean coffee shop and to spend the evening in the theatre district enjoying an OPEN Broadway. Late evening in the village hopping venues and listening to live music! 

(Michael Kushner Photography)

  I want to not only thank Ashley Kate for chatting with us but also for being inspired to make “Boy Hero”. I cut my fanboy teeth reading EC Comics growing up. When I read William Gaines bio and found out just how close that comic books were to being banned,it was shocking. Without Gaines and a slew of others,including many librarians fighting this censorship,there would no “Star Wars”,Marvel or DC or many cultural icons we take for granted today.     Like I wrote before,this is a forgotten piece of American history and much respect to Ashley Kate and her production team on making this film to hopefully remind us of what we almost lost.

Ashley Kate has several different ways that you can keep track of her and her various projects.

You can follow Ashley Kate on her InstaGram page. You can check out Ashley Kate’s next project via her IMDb page. You can also follow “Boy Hero” on InstaGram as well. You can also visit Ashley Kate’s personal website by going here.

Thank you for reading and supporting (and sharing) Ashley Kate’s interview. Feel free to drop a question below and stay tuned for updates about “Boy Hero”. You can also read past “8 Questions” interviews by going here.

8 Questions with………..actress/producer Ashley Kate Adams Its 3:52 pm Welcome to "8 Questions with....." In doing this series and especially of late,I have been really blessed to be able to talk to a lot artists that I have on a "wish list".

[stegzy]

In a Britain in an alternate universe where paganistic villagers performed fertility rites, sacrificed policemen in burning wicker effigies and sang folk songs with hidden paganistic undernotes you can imagine this compilation being enjoyed on PYE stereo systems or in-car Grundig cassette players.

Mental imagery of remote rural areas of the UK like the Pennine ridge of the Yorkshire dales and the Peak district with perhaps lots of woolen sweatered fishermen or farmer types (because why there would be fishermen in the Pennines I have no idea. Holiday perhaps?), busty lusty young Brit Eckland look-a-likes and manbeards worn for warmth rather than style. Burning log fires in remote rural public houses on the moors. Folk musicians holding their ears to keep in tune and the familiar pong of veganism. These are all brought to mind when listening to the British dark folk compilation John Barleycorn Reborn (JBR) (2007).

I had long lusted after JBR since Amazon first suggested it would sit nicely in my music library. Of course, not feeling confident that I would enjoy it because of the number of bands and songs I’d never heard of, I resisted, seeking only to try and obtain it during the great internet download free for all of the mid to late noughties. However, as recently as last year, I found the album on Apple Music together with its brother and followup compilation, John Barleycorn Reborn: Rebirth (2011).

As I took great interest in the neofolk movement that took alternative, mature and adult music to new levels across continental Europe the late noughties, I’m more aware that JBR is purely a British attempt to break into an already dying subculture. Yes we had the hauntology bit on our side (as the likes of Belbury Poly and similar bands from Ghostbox have shown) and we do hauntology well, but the dark/neo folk was becoming old hat and middleaged exgoth hipsters were already starting to reinvent themselves in other ways.

The compiler has put a lot of effort into these albums and, while they ooze hauntology, they stink of the imitation of the earlier neofolk compendium Looking for Europe (2007) which is much richer in diversity. Some strong acts feature especially the likes of Sieben, Sol Invicitus, Far Black Furlong and Martyn Bates while other groups linger, tempting the listener to delve into their own back catalogue while supping a nice warm frothing pint of Badgers Nipple and smoking a pipe.

Track listing for John Barleycord Reborn: Dark Britannica

Listen on Amazon or Apple Music

John Barleycorn 3:56 The Horses Of The Gods North, County Maid 2:40 The Owl Service The Wicker Man 2:31 The Story Spirit of Albion 4:16 Damh the Bard Twa Corbies 5:14 Mary Jane Dives and Lazarus 6:30 Andrew King Three Crowns 5:38 The Triple Tree To Kills All Kings 5:01 Sol Invictus Ogham on the Hill 4:04 Sieben Horn Dance 3:31 Sharron Kraus Lay Bent To the Bonny Broom 7:55 Charlotte Greig and Johan Asherton The Burning of Auchindoun 5:44 Pumajaw The Scryer and the Shewstone 5:07 Peter Ulrich Where the Hazel Grows 4:31 alphane moon Hippomania 6:51 English Heretic Icy Solstice Eye 3:28 Far Black Furlong John Barleycorn Must Die 4:37 The Anvil To Make You Stay 2:55 Tinkerscuss Trial By Bread and Butter 3:37 The Straw Bear Band The Sorrow of Rimmon 3:56 Electronic Voice Phenomina Dragonfly 4:21 The Purple Minds of Lazeron Stained Glass Morning 5:56 Sand Snowman Summerhouse 5:11 The A Lords The Guidman’s Ground 4:19 The Kitchen Cynics PewPew 2:33 Quickthorn Reed Sodger 4:20 Clive Powell Child 102 Willie and Earl Richard’s Daughter 7:33 Venereum Arvum Nottamun Town 6:55 Drohne Gargoyle 6:16 Stormcrow Pact 4:21 Doug Peters Obsidian Blade 5:07 While Angels Watch John Barleycorn: This Life, Death and Resurrection 4:51 Xenis Emputae Travelling Band The Resurrection Apprentice 2:31 Martyn Bates

Track listing for John Barleycorn Reborn: Rebirth

Listen on Amazon or Apple Music

The Rolling of the Stones 2:04 Magpiety All Hallow’s Eve 5:05 Story, The Wood 4:57 Telling the Bees John Bonny Jaycock Turner 2:42 David A Jaycock Oh My Boy, My Bonny Boy 2:30 Yealand Redmayne The Bold Fisherman 4:36 Charlotte Greig & Johan Asherton Tierceron 4:00 Steve Tyler The Wendigo 6:24 Wendigo, The Wake the Vaulted Echo (Tigon Mi 4:53 Owl Service, The East Room V 3:33 Far Black Furlong Brightening Dew 3:10 Xenis Emputae Travelling Band Corvus Monedula 4:08 Sedayne Bear Ghost 5:02 Straw Bear Band, The Scythe To the Grass 3:06 Novemthree Lavondyss 4:55 Paul Newman Kingfisher Blue 5:16 James Reid (Digging the) Midnight Silver 4:18 JefvTaon Children’s Soul 1:48 Wooden Spoon A Dream of Fires 3:21 Big Eyes Family Players, The Improvisation At Kilpeck, June 4:18 Sundog Ca the Horse, Me Marra 11:17 Clive Powell Jack In the Green 2:41 Mac Henderson And Grand Union Morris Seven Sleepers, Seven Sorrows 11:58 Cunnan The Silkie 3:52 Orchis Thistles 5:28 Twelve Thousand Days Harvest Dance 2:31 Novemthree Elder 3:45 James Reid When I Was In My Prime 5:07 Mary Jane Ognor Mi Trovo 3:18 Daughters of Elvin De Poni Amor a Me 6:17 Misericordia Child 102 (Lily Flower Mix) 7:54 Venereum Arvum John Barleycorn Must Live 5:37 Anvil, The The Old Way 0:45 Sunshine Coding

  John Barleycorn Reborn: Dark Britannica – Various Artists [#648] & John Barleycorn Reborn: Rebirth [#649] In a Britain in an alternate universe where paganistic villagers performed fertility rites, sacrificed policemen in burning wicker effigies and sang folk songs with hidden paganistic undernotes you can imagine this compilation being enjoyed on PYE stereo systems or in-car Grundig cassette players.

[toptecharena]

NEW YORK — During the summer of 1966, a heat wave boiled New York City at the most brutal temperatures recorded since 1869, the year weather data began to be consistently collected.

The Vietnam War was also heating up, with 382,010 men drafted into service that year, 151,019 more than the previous year.

Opposition to the war as well as to chronic discrimination against blacks, women and gays was gathering steam in the city. Clashes broke out elsewhere, with race riots that summer in Chicago and in Lansing, Michigan.

“America was convulsing in a way, a time of huge unrest, incredible violence,” said Jon Savage, author of “1966: The Year the Decade Exploded.”

On Aug. 1, in Austin, Texas, a lone gunman introduced the United States to mass murder. Charles Whitman killed his mother and wife and then more than a dozen people, sniper-style, from the University of Texas’ clock tower, wounding more than 30 others.

Meanwhile, “Summer in the City,” a propulsive, apolitical rock song by the Lovin’ Spoonful, based in New York, was climbing the charts to No. 1, reassuring listeners that “despite the heat it’ll be all right.” Sung and co-written by John Sebastian, the band’s frontman, the song was conceived by his younger brother, Mark Sebastian, when he was just 14. Steve Boone, the bass player, contributed the memorable instrumental interlude. The three shared writing credit and continue to reap royalties: The song has endured as an anthem for every heat wave since and has been covered by Quincy Jones, Joe Cocker and Isaac Hayes, among others.

(It will most likely figure prominently at a concert, “Music and Revolution: Greenwich Village in the 1960s,” on Sunday at Central Park’s SummerStage, where John Sebastian is part of a lineup that includes José Feliciano and Maria Muldaur.)

In addition to John Sebastian and Boone, the original band members (Mark was too young) were Zal Yanovsky on guitar and Joe Butler on drums. Their producer, Erik Jacobsen, helped shape their 1965 debut album, “Do You Believe in Magic,” and their 1966 follow-up album, “Daydream.” Their manager, Bob Cavallo, masterminded the business end. In 1966, the group also supplied the soundtrack to Woody Allen’s “What’s Up, Tiger Lily?” They toured extensively and, with their rapid rise to fame, found themselves in need of more material. One day, Sebastian heard something intriguing from his younger brother.

JOHN SEBASTIAN (frontman): Mark really was the beginning of the song. Hot town, summer in the city … but at night it’s a different world. “Hey, hold on, what’s that?” I said.

MARK SEBASTIAN (songwriter): I recently found the songbook I wrote it in, in pencil. My brother, who’d moved out by then, was back home visiting and listened to what I’d written.

__

The song soon became a contender for the band’s next album, which they were under pressure to produce quickly. “Cavallo had us on the road so much that we never had the luxury of dedicated periods of recording,” said Steve Boone, the bass player. By March 1966, just a few months after wrapping “Daydream,” they were back in the studio to record what would become “Hums of the Lovin’ Spoonful,” which would feature “Summer in the City.” From the beginning, the band was excited about the single’s potential, no matter that it began with a dreamy adolescent longing to break out of his family’s tony residence, tucked between Macdougal Street and Waverly Place.

__

MARK SEBASTIAN: Our family’s apartment was at 29 Washington Square West, the 15th floor; my bedroom looked out over the Hudson. I wanted to run away, go down by the docks, dreaming of whatever this romance thing was, having a band of my own. There was all this music out in Washington Square Park, girls that came down from the Bronx, really sexy, chewing gum, and I was still too young to talk to them without fainting.

JOHN SEBASTIAN: Eleanor Roosevelt lived across the hall in the 1940s when we first moved in. My mom, Jane Bishir, was a Midwestern girl who’d come to New York to make it as a writer and became the closest of friends with Vivian Vance long before she was on “I Love Lucy.” She was my godmother. My godfather was the best baby sitter on God’s green earth, Garth Williams, the illustrator for all these wonderful books. He would be doodling, and there was one evening where he showed me three or four spiders: “Which spider do you like?” He and E.B. White were going around the bend to avoid the Disneyfication of “Charlotte’s Web,” and he wanted to try it out on a kid. My dad was a classical harmonica player and good friends with Burl Ives, who asked him if we could let this songwriter from Oklahoma stay at our house for a while. So I’m in bed, and in the next room I hear Woody Guthrie singing and playing, and in my total infancy I thought, “He’s not as good as Dad.” It’s not a memory I’m proud of.

STEVE BOONE (bass guitarist): John not only grew up in Greenwich Village, he was there when folk musicians and bands started writing their own songs and actually playing their instruments on the recordings. In the ‘50s and early ‘60s, record companies would hire songwriters and studio musicians, and the artists would come in and sing. The rock scene began with this gestation period in the Village.

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John Sebastian was steeped in a rivalrous fraternity of folk, roots, blues and jug-band artists at coffeehouses and basement hangouts on West Third, Macdougal and Bleecker streets. He saw the careers of Bob Dylan, Joan Baez and Jimmy James (later known as Jimi Hendrix) and the Blue Flames take off from cramped stages. Playing harmonica, guitar and autoharp, he began to accompany a variety of artists, influences that bore fruit when he turned to songwriting.

Sebastian’s friend Cass Elliot introduced him to Yanovsky, a Canadian who played in her folk group, the Mugwumps, along with Denny Doherty. After they split up, Elliot and Doherty co-founded the Mamas and the Papas while Sebastian and Yanovsky formed the Lovin’ Spoonful, taking their name from a Mississippi John Hurt song, “Coffee Blues.”

In February 1965, their tryout at the Night Owl Cafe, formerly at 118 W. Third St., was a disaster. Joe Marra, the club’s owner, now 85, was known for presenting the likes of Tim Hardin, Fred Neil, Tim Buckley, Stephen Stills, Richie Havens and James Taylor. He gave Cass Elliot a job as a hostess.

__

JOHN SEBASTIAN: We got fired.

JOE BUTLER (drummer): We were living in the same room at the Albert Hotel, the four of us in the same goddamn bed, a laundry cart with all our instruments. We’d roll it down to the basement to rehearse, water bugs running around.

SEBASTIAN: I had an apartment, but maybe I’d end up there overnight now and then. It’s where I wrote “Do You Believe in Magic.”

BUTLER: The Paul Butterfield Blues Band rehearsed in the ballroom. A lot of musicians were living in that place on the sly. So were Denny and Cass, who were still with the Mugwumps. Basically, Denny was romancing the manager, so he was our meal ticket. We had a secret entrance, hiding in rooms, and never paid. I was just out of the Air Force, my father was a cop, and I grew up in Great Neck, so I wasn’t as bohemian as they were. I was 23, the oldest in the group. If you were lucky, you got to sleep on the floor in Butchie’s room.

BOONE: Butchie was the Lovin’ Spoonful’s stepmother at the hotel, funny, cheerful, encouraging. I wrote “Butchie’s Tune” for her, how she was the greatest, but I wasn’t attracted to her.

SEBASTIAN: She was a pal of my producer who overheard me talking about the draft, how I was the right age to get taken. She said, “Oh, I’ll marry you.” It was a technical marriage. She ended up marrying Bob Denver.

JOSHUA WHITE (pioneer of psychedelic light shows): We were getting deeper and deeper into Vietnam. Everyone, including the Lovin’ Spoonful, was subject to the draft, and you were going to die, your life under that dangling sword. People were doing all kinds of things to better their chances — getting married, having children, becoming teachers, looking over their shoulders.

SEBASTIAN: We immediately got into Cafe Bizarre, a tourist trap. We did eight sets a day for $25 a week and all the tuna fish sandwiches you could eat. Joe Marra gave us another shot at the Night Owl, and we were ecstatic when we saw a 16-year-old girl from Queens dancing to our music. The next week a ton of girls showed up.

JON SAVAGE (“1966” author): There was magic between the four of them, and Zal Yanovsky was the wild card. You always need a wild card, somebody who’s going to rip it up. London was over, everybody knew that, and New York became the pop center of the world, strong with the Lovin’ Spoonful and the Rascals, the Brill Building not dead yet.

BUTLER: I was fascinated by Zally. Harpo Marx with a guitar, a genius who could play anything.

ZOE YANOVSKY (Zal Yanovsky’s daughter): Zalman was a bit of a street urchin, somewhat homeless, and had roamed around Israel playing guitar. There’s a mythical story about him coming back to Toronto and living in a laundromat before going to New York.

GERRY GIOIA (guitarist and composer): When I played in the Village back then I’d get $10, but that would buy you 10 pizzas. Music was everywhere, street performers, smells of sausage heroes, coffee beans, people walking up and down the streets trying to look as freaky as possible. It was like Paris in the ‘20s, the Harlem Renaissance, things that come and go, and you don’t realize it until it’s gone.

GENE SCULATTI (author of “Tryin’ to Tell a Stranger ‘Bout Rock and Roll”): The Lovin’ Spoonful and the Byrds were the first of the groups that really comprised hipsters, ex-folkies and dope smokers. When you first saw them, they were like the Rolling Stones, dressed in street clothes, not uniforms.

__

In late 1965, the Lovin’ Spoonful toured the South with the Supremes, chronicled in Steve Boone’s memoir, “Hotter Than a Match Head: Life on the Run with the Lovin’ Spoonful” (2014). They were taunted for having long hair and witnessed naked racism. “Segregation was supposed to be over,” Butler said, “but Zally was out there, animated and loud, and guys started coming for us, saying, ‘Should we shave their heads?’” People at a diner started using racist jeers. “Zally grabbed a fork, ready to take somebody’s eye out so he’d never forget what he said to us that day.”

The band toured overseas, and on May 20, 1966, after triumphant gigs in England, Sweden and Ireland, rubbing elbows with the Rolling Stones and the Beatles, Yanovsky and Boone were arrested in San Francisco for marijuana possession.

__

BOONE: We hadn’t even gone a block from the house where the party was, and they immediately wanted to search the car. It may have been a setup. The chief of police said he’d put Zally on a plane to Canada tomorrow, not be allowed back in. We were young and scared and made a deal to introduce a cop as a friend of ours to our crowd. I wish we had said, “See you in court.”

__

The bust did not immediately make the news, and the band went on to perform in Los Angeles and on various television shows. In July, “Summer in the City” was released, a song recorded before they left for Europe.

__

MARK SEBASTIAN: That summer, I was in the Loire with my mom dragging me around to châteaus. I wanted to be in New York and hear “Summer in the City” playing from the window. My mom rented a radio. I heard “I Want You” from Dylan, then started to hear my song. I was in shock. What I’d written was more of a mellow ballad, and John took it to this whole other place that was aggressive and exciting and fun.

ERIK JACOBSEN (producer): We had Roy Halee, a fabulous engineer at Columbia, put in these sound effects of a drill and traffic and a legitimate big-time fade at the end.

BOONE: Until “Summer in the City,” we were not accepted wholeheartedly by the rock scene.

BUTLER: And we were playing our own instruments, not using the Wrecking Crew like the Byrds and the Beach Boys.

JOHN SEBASTIAN: There was no love lost between us and rock critics.

BOONE: That song changed everything. We had street cred. It was really also the end of the Spoonful, the tipping point. From that point on, there was this tiny pinhole in the balloon that started leaking.

SAVAGE: “Summer in the City” is almost an avant-garde piece, that stuttering piano, the noises of the city in the middle. It’s an edgy record, not a peaceful record. It was their fifth Top 10 single in under a year. They were on an insane schedule.

BUTLER: We were designed to burn out, like a light bulb that was overamped. We were on the road all the time, and our heads got swelled up with how popular we were and how much the girls loved us. We were unable to support each other.

SAVAGE: Within two years, they released at least three full albums, two soundtrack albums and had nine Top 20 singles. It’s not surprising relationships fracture under that pressure. How are you going to keep it up?

__

As much as Boone and Butler professed their love and admiration for Yanovsky, they noticed his mood darken after the drug arrest. During that period, Jacobsen described him as “an impossible guy capable of guerrilla warfare.” There was also a love interest — isn’t there always? — that got in the way. In 1967, it came to a head.

__

BOONE: Zally quit the band emotionally and then got fired. It was well after “Summer” was a hit record that anybody even knew about the drug bust. It got out in the underground press in California.

SAVAGE: Their name was mud for fingering their source. It was a great shame that young people were put under that kind of pressure for making a mistake. They were very badly advised and intimidated by the police.

ZOE YANOVSKY: Zalman may have had a certain element of self-sabotage. On “The Ed Sullivan Show,” he purposefully sang the wrong lyrics. But those are the great partnerships in life and in rock ‘n’ roll, opposites attracting. John is very sincere, and Zalman was very much in your face.

SAVAGE: Once the band lost Zal, it became something different. Los Angeles, and in particular, San Francisco, was positioning itself as the next center of pop.

__

Yanovsky released a solo album, “Alive and Well in Argentina,” drove a cab in Toronto and became a restaurateur in Kingston, Ontario. He died of a heart attack in 2002, just shy of his 58th birthday.

Richard Barone, a musician who released the album “Sorrows & Promises: Greenwich Village in the 1960s” in 2016, and is hosting Sunday’s SummerStage show dedicated to the era, said that by 1968, “Greenwich Village was over, a commercial commodity.”

John Sebastian, 74, quit the Lovin’ Spoonful in 1968 to go solo, and he played an unscheduled set at Woodstock in 1969. “I’ve gone in and out of style five times since then,” he said. On a recent visit from Woodstock, where he has lived with his wife, Catherine, since 1976, he retraced his old Village route, more exuberant about the memories than wistful. “It’s all gone,” he said, “but so are the crooners. Everybody has their turn. When did I leave? The real answer is I’ll never leave the Village. It’s mine.”

__

New York Summer Songs

John Schaefer, the host of “New Sounds” on WNYC, shares his selection. Here are six of them; the full list is at nytimes.com/metropolitan.

— “Dancing in the Streets” by Martha and the Vandellas. Detroit can rightly claim this ultimate summer song, but the lyrics are more inclusive: “They’re dancing in Chicago/ Down in New Orleans/ In New York City.”

— “Up on the Roof” by the Drifters. From the songwriting team of Carole King and Gerry Goffin, this classic’s lyrics never actually mention “summer in New York,” but with its “rat race noise down in the street” and its rooftop air so “fresh and sweet,” it’s got to be.

— “Summertime” by DJ Jazzy Jeff & the Fresh Prince. Jazzy Jeff and a young Will Smith were not New Yorkers, but this 1991 tune is built on “Summer Madness,” from Jersey City’s own Kool & the Gang.

— “Crazy in Love” by Beyoncé, featuring Jay-Z. The king and queen of New York ruled summer 2003 with this sweaty, Chi-Lites-sampling dance tune.

— “Rockaway Beach” by the Ramones. Because even punks need a break from being cool to be, you know, cool.

— “Bang Bang” by Joe Cuba. The tradition of great Latin summer hits includes last year’s “Despacito” by Luis Fonsi, “Gasolina” by Daddy Yankee in 2004 and any number of Fania All-Stars tunes from the ‘70s. But it all began in New York in 1966, with this irresistible number.

This article originally appeared in The New York Times.

Julie Besonen © 2018 The New York Times

Go to Source Author: Julie Besonen Entertainment: An anthem for every urban summer NEW YORK — During the summer of 1966, a heat wave boiled New York City at the most brutal temperatures recorded since 1869, the year weather data began to be consistently collected.

[robertmcangusgroup]

The Daily Thistle

The Daily Thistle – News From Scotland

Thursday 14th September 2017

"Madainn Mhath” …Fellow Scot, I hope the day brings joy to you….  Thank You for all your wishes regarding my health.. I’m still here.. struggling, but doing what I have to do.. It’s a pain in the derriere when you don’t feel at the top of your game.. but things to do, words to write, stuff to read, no use wallowing in self pity.. Wrapped up well when Bella and I went out this morning under a star filled heaven, she seemed to sense that I am not 100% as she didn’t pull or attempt to guide me as she normally does, rather she walked along beside me, just an old man and his friend out in the early morn exploring together….

BODIES OF 'HUNDREDS' OF CHILDREN BURIED IN MASS GRAVE…. The bodies of hundreds of children are believed to be buried in a mass grave in Lanarkshire, southern Scotland, according to an investigation by BBC News. The children were all residents of a care home run by Catholic nuns. At least 400 children are thought to be buried in a section of St Mary's Cemetery in Lanark. The Daughters of Charity of St Vincent de Paul, which ran the home, refused to comment on the findings. The research by the File on 4 programme in conjunction with the Sunday Post newspaper focused on Smyllum Park Orphanage in Lanark. It opened in 1864 and provided care for orphans or children from broken homes. It closed in 1981, having looked after 11,600 children. A burial plot, containing the bodies of a number of children, was uncovered by two former residents of Smyllum in 2003. Frank Docherty and Jim Kane discovered an overgrown, unmarked section of St Mary's Cemetery during their efforts to reveal physical abuse which they said many former residents had suffered. In 2004, the campaigners said the Daughters of Charity told them their records suggested that children had been buried in 158 compartments in the graveyard. Frank and Jim, who both died earlier this year, believed however, that the numbers were far higher as the nuns had indicated their records were incomplete. The investigation by File on 4 and the Sunday Post indicates they were right; at least 400 children are understood to be buried in the plot. "Oh my God, I've got goose pimples. It's shocking," said Frank Docherty's widow, Janet. "He had been trying for years to find a figure and he didn't get anywhere. That's unbelievable." The death records indicate that most of the children died of natural causes, from diseases common at the time such as TB, pneumonia and pleurisy. Analysis of the records show that a third of those who died were aged five or under. Very few of those who died, 24 in total, were aged over 15, and most of the deaths occurred between 1870 and 1930. One of those believed to be buried there is Francis McColl. He died in 1961, aged 13; his death certificate indicates he died from a brain haemorrhage.

BOATS MAKE DARING RIVER NITH 'RAID' ON DUMFRIES…. A daring river "raid" on Dumfries has been carried out in celebration of the town's trade links. Boats raced their way up the River Nith to the heart of the town on one of the highest tides of the year. It was the fifth edition of the Nithraid event - a celebration which takes place on and around the river. As well as the boat race, a range of entertainment included a procession through the town and events continuing into the evening. Project manager Sal Cuddihy said: "It's an exciting year for Nithraid with some great new additions to the festival; our friends the Vikings are coming to liven up the banks of the Mill Green with re-enactments and combat displays. "For the first time, we will be continuing the festivities into the evening with some live entertainment in a relaxed atmosphere. "It's an exciting project to be a part of, and we hope plenty of people come along to get involved and cheer on the sailors." The celebration is created and produced by local artists group The Stove Network.

CHILDREN'S ORCHESTRA MAKES A BIG NOISE IN DUNDEE…. Sistema Scotland's fourth children's orchestra has launched in Dundee backed by a £325,000 funding boost. The Big Noise project helps children by using music and the experience of being part of an orchestra. Big Noise Douglas will work with around 400 pupils from St Pius and Claypotts Castle primary schools. The Perth-based Gannochy Trust has given an initial investment of £325,000 towards the charity and the new orchestra. Sistema Scotland runs Big Noise Douglas in partnership with Optimistic Sound and Dundee City Council. The late Dundee musician Michael Marra campaigned to bring Big Noise to Dundee as he believed in the "transformational power" of music. A group of Dundonians created Optimistic Sound, a charity established to campaign and fundraise for a Big Noise centre in the city.

MILLIONS OF POUNDS STOLEN FROM SCOTS COMPANIES IN SCAMS…. More than a total of £4.7m has been lost to fraudsters by businesses and organisations across Scotland in the past few months, police have said. The money was stolen from bank accounts in the Highlands, Fife, Glasgow and Ayrshire. Police Scotland said fraudsters also made unsuccessful attempts against firms in Edinburgh and Aberdeen. Known as a vishing scam, it involves software to make numbers in phone calls appear genuine and also fake emails. The organisations in the Highlands have included the Highland Hospice in Inverness, which which lost £570,000. Some of the money has been recovered. The hospice was among organisations and companies in the Highlands that lost a total of about £2.5m in a vishing scam over the summer. Last week, another business in the region was defrauded out of a high six-figure sum of money, according to police.

RAG'N'BONE MAN TO HEADLINE EDINBURGH'S HOGMANAY…. Singer Rag'n'Bone Man is to headline Edinburgh's Hogmanay. About 10,000 tickets to Edinburgh's Hogmanay Concert in the Gardens will go on sale on Tuesday at 09:00. His album Human has become the decade's fastest-selling debut album by a British male. Support acts are yet to be revealed. The title song, Human, has gone to Number 1 on iTunes in over 40 countries, selling nearly four million copies. Another track, Skin, has been sold over 1.2 million times globally. Ticket prices are: £55 for the gardens, £65 for the enclosure and £150 premium. Rag'n'Bone Man, whose real name is Rory Graham, said: "Excited to be breaking the New Year in with the Scots at Edinburgh's Hogmanay, what a sick event for a debut show."

On that note I will say that I hope you have enjoyed the news from Scotland today,

Our look at Scotland today is of the "Great Escape" held in Glasgow recently...

A Sincere Thank You for your company and Thank You for your likes and comments I love them and always try to reply, so please keep them coming, it's always good fun, As is my custom, I will go and get myself another mug of "Colombian" Coffee and wish you a safe Thursday 14th September 2017 from my home on the southern coast of Spain, where the blue waters of the Alboran Sea washes the coast of Africa and Europe and the smell of the night blooming Jasmine and Honeysuckle fills the air…and a crazy old guy and his dog Bella go out for a walk at 4:00 am…on the streets of Estepona…

All good stuff....But remember it’s a dangerous world we live in

Be safe out there…

Robert McAngus

[promisedlandradio]

john DiMaggio

“So, I have this friend, John Dimaggio, who is internationally known as a voice over actor. He has worked on so many projects like Futurama where he is the voice over for Bender. He has also appeared on many well known cartoons, as well as movies and video games. Anyway, John got to hear us one day and he just blurted out “you guys sound like a colossal street jam!” He was referring to our diverse musical backgrounds when he said that. Well, the name stuck and it has been with us ever since.” 

Gene Potts, Lead Singer, Colossal Street Jam

Lead singer Gene Potts (photo courtesy of Coucou Photography)

New Jersey has been known for producing some great homegrown talent (e.g., Springsteen, Bon Jovi, etc.) and with their latest release Jersey-homegrown band Colossal Street Jam continues that lineage. The band’s most recent effort is entitled Living Free and on it lead singer Gene Potts and crew show why they are one of the mainstays in a highly competitive East Coast music market.

To be clear, Colossal Street Jam is not a newbie to the Jersey rock scene. The band’s origins go back to the early 1990s. Fast forward to Living Free, Potts talked about the writing of the band’s latest album:

The earlier days of CSJ

“We began writing Living Free in May of 2015 and we then went into the studio to record it in April of the following year. We then finished the album in October of last year and it was released a month later. This is our third record after an extended hiatus.  The band started in the early 1990s and we then split up in 1994. We reunited in late 2013 and then we recently–in 2016–made some lineup changes. To say we have come a long way is an understatement but I think this journey has been all worthwhile. Hopefully, with Living Free, our fans will agree.”

Gene Potts (photo courtesy of Coucou Photography)

CSJ is comprised of a solid line-up of seasoned Jersey rock veterans. Starting with Potts, he’s simply not your average singer. His voice is distinct. It is edgy. It is also indicative of a singer with some passion….serious passion. As they say in baseball, a lot of guys can throw 90 mph but to get to the major leagues you need more; you have to have movement on your fastball. Potts’ vocals have “movement” and as such, they are major league worthy.

Sal Marra heads up the guitars for CSJ and on Living Free Marra’s style is clear…..crystal, that is. Marra is an intriguing player whose melodic feel is reminiscent of Slash as well as other master shredders. What I liked most about Marra’s playing is that it really fits the music. Coupled with Marra’s mastery of effects which are used oh so appropriately, he really commands the music and on Living Free, he just can’t be missed. The guitar work is outstanding.

Sal Marra (photo courtesy of Coucou photography)

Rounding out the group is bassist Tony Flora, keyboardist Eric Safka, and rock solid drummer Dave Halpern. 

Flora, though not flashy, works so well in tandem with Halpern that the two become one in an inseparable rhythmic mesh. Together, Flora and Halpern form the critical foundation that allows this band to groove as well as it does. This is the kind of chemistry (sans rhythm guitar) that certain groups like Van Halen–in the Michael Anthony days–could pull off. For CSJ, it’s a very effective style and it works.

Rounding out the lineup is Jersey’s own Eric Safka, a versatile, well known, and talented keyboardist. Formerly of the Matt O’Ree Band, rather than dazzle with special effects and electronic gimmickry, Safka is pure talent. Safka’s wheelhouse is the live gig and the man is not only a passionate showman but he will also take to a solo as good as anybody.

As a group, CSJ fits like an assembled puzzle. The chemistry of the talent is quite evident on Living Free but, make no mistake about it, in addition to all that, the album contains some really well written songs. (All the songs on the album were written by the band except one). Succinctly, Living Free sports these 11 tracks:

1) Won’t Last This Way (4:40)

2) Skies Above (4:21)

3) Living Free (5:21)

4) Songbird (5:00)

5) Hanging Around (5:24)

6) Be Good To Yourself (3:07)

7) Monday Morning Mass (3:28)

8) I Can’t Take It (3:35)

9) Let It Go (2:55)

10) Runnin’ (4:28), and

11) Sweet Little Lady (live) (5:57).

Won’t Last This Way gets the Living Free party started CSJ style. This track offers a nice rhythm and an excellent use of open space by Halpern and crew. The open space lets Potts’ voice breathe nicely. Here’s a sample of Won’t Last This Way to check out:

http://ift.tt/2jtw3XG

CSJ live (photo courtesy of Jeff Krespi Rocks)

Skies Above follows and here the group shows off their ability to write music. The chorus on this track is very good; in fact, I guess it has the proverbial “hook.” It’s on this tune that you start to realize that this group is more like a national act than a local one. Up next is the title track (Living Free) which features some nice work by both Marra and Safka. Living Free also features some gutsy backing vocals by local crooner Laura Catalina Johnson of Strumberry Pie. Definitely a nice touch.

“Marra’s lead guitar work is loyal to the structure of the song while also being distinctly melodic in and of itself.  You can almost feel where he is going before he gets there.”

Songbird follows and the tune is a nice change of pace. This track showpieces a different side of CSJ in terms of dynamics and progressions. I also found this song to be particularly well written. To see what I mean, check out this short clip:

http://ift.tt/2kosxly

Hanging Around is next and it shows another side of CSJ with the hint of a blues overtone. Following that is a song which was not written by the band, Be Good To Yourself, but it is a highlight, for sure. The soul on this track is riveting and uplifting. Check out this sample of Be Good To Yourself:

http://ift.tt/2koptpq

Monday Morning Mass is next and this was my sleeper pick to be frank. The tune came out of nowhere and my first thought on this track was “man, they sure don’t sound local.” This song is Potts with an edge; here, you can hear the “movement” on the voice. Additionally, Marra’s solo really works well on this track; it is refreshing when a guitarist wins us over with rhythm and melody rather than pure speed and the mastering of rapidly played (and perhaps pointless) mechanical scales. The marriage of Marra’s guitar work on this track with Potts’ vocals is the proverbial “killing it.”

I Can’t Take It is a further exploration in style for the band. Flora really shows on this track how he can hold down a rhythm section with some really nice bass work. Also worthy of mention is Halpern’s ability to punctuate accents with the band. Again, the effectiveness of the CSJ rhythm section cannot be understated; Messrs. Flora and Halpern are the musical table setters that support strong vocals and guitar and for CSJ, that’s a winning combination.  I have to admit that Let It Go, the next song on the album, is a real interesting track. Sung by guitarist Sal Marra (who is endorsed by Oriolo Guitars) the track is a nice retreat for CSJ to a different style much like when Led Zeppelin neatly snuck into Hot Dog on In Through The Out Door. Runnin’–the final studio track on the album–is sometimes the spot on an album where quality starts to fade however, that’s not the case on Living Free. Marra’s guitar work is really good on this one. In fact, Marra’s style and feel is so good that he almost could completely dispense with a lead part and the song would still work. 

The final track on the record was recorded live at The Stone Pony in Asbury Park which is arguably the unofficial launching site for icons Springsteen and Bon Jovi. Sweet Little Lady pretty much states what must be an almost obvious conclusion to most listeners; that is, that this band is great live.

CSJ at The Stone Pony

Frankly, Living Free was really a pleasure to review. I have to admit that I don’t know the members of the band but I would like to after hearing this record. These are some very talented musicians who have surrounded themselves with individual and collective styles that go round and round much like a trending carousel. The songs on this record are well written and well executed and again, although they were introduced to me as “local” band, I think they are much more than that.

This is the kind of group that I would like to see more of beyond this record. Their material is that good and if I was in management, I would not lose their number. Momma always said “go big” and Peter Gabriel even sung of the “big time.” Well, these guys did better than that. They went Colossal. Check them out peeps, you won’t be disappointed.

Ken “K Bo” Biedzynski, Editor 

      The post Colossal Street Jam’s New Release Is Indeed That….Colossal appeared first on Beato's Blog.

[beatoblog-blog]

john DiMaggio

“So, I have this friend, John Dimaggio, who is internationally known as a voice over actor. He has worked on so many projects like Futurama where he is the voice over for Bender. He has also appeared on many well known cartoons, as well as movies and video games. Anyway, John got to hear us one day and he just blurted out “you guys sound like a colossal street jam!” He was referring to our diverse musical backgrounds when he said that. Well, the name stuck and it has been with us ever since.” 

Gene Potts, Lead Singer, Colossal Street Jam

Lead singer Gene Potts (photo courtesy of Coucou Photography)

New Jersey has been known for producing some great homegrown talent (e.g., Springsteen, Bon Jovi, etc.) and with their latest release Jersey-homegrown band Colossal Street Jam continues that lineage. The band’s most recent effort is entitled Living Free and on it lead singer Gene Potts and crew show why they are one of the mainstays in a highly competitive East Coast music market.

To be clear, Colossal Street Jam is not a newbie to the Jersey rock scene. The band’s origins go back to the early 1990s. Fast forward to Living Free, Potts talked about the writing of the band’s latest album:

The earlier days of CSJ

“We began writing Living Free in May of 2015 and we then went into the studio to record it in April of the following year. We then finished the album in October of last year and it was released a month later. This is our third record after an extended hiatus.  The band started in the early 1990s and we then split up in 1994. We reunited in late 2013 and then we recently–in 2016–made some lineup changes. To say we have come a long way is an understatement but I think this journey has been all worthwhile. Hopefully, with Living Free, our fans will agree.”

Gene Potts (photo courtesy of Coucou Photography)

CSJ is comprised of a solid line-up of seasoned Jersey rock veterans. Starting with Potts, he’s simply not your average singer. His voice is distinct. It is edgy. It is also indicative of a singer with some passion….serious passion. As they say in baseball, a lot of guys can throw 90 mph but to get to the major leagues you need more; you have to have movement on your fastball. Potts’ vocals have “movement” and as such, they are major league worthy.

Sal Marra heads up the guitars for CSJ and on Living Free Marra’s style is clear…..crystal, that is. Marra is an intriguing player whose melodic feel is reminiscent of Slash as well as other master shredders. What I liked most about Marra’s playing is that it really fits the music. Coupled with Marra’s mastery of effects which are used oh so appropriately, he really commands the music and on Living Free, he just can’t be missed. The guitar work is outstanding.

Sal Marra (photo courtesy of Coucou photography)

Rounding out the group is bassist Tony Flora, keyboardist Eric Safka, and rock solid drummer Dave Halpern. 

Flora, though not flashy, works so well in tandem with Halpern that the two become one in an inseparable rhythmic mesh. Together, Flora and Halpern form the critical foundation that allows this band to groove as well as it does. This is the kind of chemistry (sans rhythm guitar) that certain groups like Van Halen–in the Michael Anthony days–could pull off. For CSJ, it’s a very effective style and it works.

Rounding out the lineup is Jersey’s own Eric Safka, a versatile, well known, and talented keyboardist. Formerly of the Matt O’Ree Band, rather than dazzle with special effects and electronic gimmickry, Safka is pure talent. Safka’s wheelhouse is the live gig and the man is not only a passionate showman but he will also take to a solo as good as anybody.

As a group, CSJ fits like an assembled puzzle. The chemistry of the talent is quite evident on Living Free but, make no mistake about it, in addition to all that, the album contains some really well written songs. (All the songs on the album were written by the band except one). Succinctly, Living Free sports these 11 tracks:

1) Won’t Last This Way (4:40)

2) Skies Above (4:21)

3) Living Free (5:21)

4) Songbird (5:00)

5) Hanging Around (5:24)

6) Be Good To Yourself (3:07)

7) Monday Morning Mass (3:28)

8) I Can’t Take It (3:35)

9) Let It Go (2:55)

10) Runnin’ (4:28), and

11) Sweet Little Lady (live) (5:57).

Won’t Last This Way gets the Living Free party started CSJ style. This track offers a nice rhythm and an excellent use of open space by Halpern and crew. The open space lets Potts’ voice breathe nicely. Here’s a sample of Won’t Last This Way to check out:

http://ift.tt/2jtw3XG

CSJ live (photo courtesy of Jeff Krespi Rocks)

Skies Above follows and here the group shows off their ability to write music. The chorus on this track is very good; in fact, I guess it has the proverbial “hook.” It’s on this tune that you start to realize that this group is more like a national act than a local one. Up next is the title track (Living Free) which features some nice work by both Marra and Safka. Living Free also features some gutsy backing vocals by local crooner Laura Catalina Johnson of Strumberry Pie. Definitely a nice touch.

“Marra’s lead guitar work is loyal to the structure of the song while also being distinctly melodic in and of itself.  You can almost feel where he is going before he gets there.”

Songbird follows and the tune is a nice change of pace. This track showpieces a different side of CSJ in terms of dynamics and progressions. I also found this song to be particularly well written. To see what I mean, check out this short clip:

http://ift.tt/2kosxly

Hanging Around is next and it shows another side of CSJ with the hint of a blues overtone. Following that is a song which was not written by the band, Be Good To Yourself, but it is a highlight, for sure. The soul on this track is riveting and uplifting. Check out this sample of Be Good To Yourself:

http://ift.tt/2koptpq

Monday Morning Mass is next and this was my sleeper pick to be frank. The tune came out of nowhere and my first thought on this track was “man, they sure don’t sound local.” This song is Potts with an edge; here, you can hear the “movement” on the voice. Additionally, Marra’s solo really works well on this track; it is refreshing when a guitarist wins us over with rhythm and melody rather than pure speed and the mastering of rapidly played (and perhaps pointless) mechanical scales. The marriage of Marra’s guitar work on this track with Potts’ vocals is the proverbial “killing it.”

I Can’t Take It is a further exploration in style for the band. Flora really shows on this track how he can hold down a rhythm section with some really nice bass work. Also worthy of mention is Halpern’s ability to punctuate accents with the band. Again, the effectiveness of the CSJ rhythm section cannot be understated; Messrs. Flora and Halpern are the musical table setters that support strong vocals and guitar and for CSJ, that’s a winning combination.  I have to admit that Let It Go, the next song on the album, is a real interesting track. Sung by guitarist Sal Marra (who is endorsed by Oriolo Guitars) the track is a nice retreat for CSJ to a different style much like when Led Zeppelin neatly snuck into Hot Dog on In Through The Out Door. Runnin’–the final studio track on the album–is sometimes the spot on an album where quality starts to fade however, that’s not the case on Living Free. Marra’s guitar work is really good on this one. In fact, Marra’s style and feel is so good that he almost could completely dispense with a lead part and the song would still work. 

The final track on the record was recorded live at The Stone Pony in Asbury Park which is arguably the unofficial launching site for icons Springsteen and Bon Jovi. Sweet Little Lady pretty much states what must be an almost obvious conclusion to most listeners; that is, that this band is great live.

CSJ at The Stone Pony

Frankly, Living Free was really a pleasure to review. I have to admit that I don’t know the members of the band but I would like to after hearing this record. These are some very talented musicians who have surrounded themselves with individual and collective styles that go round and round much like a trending carousel. The songs on this record are well written and well executed and again, although they were introduced to me as “local” band, I think they are much more than that.

This is the kind of group that I would like to see more of beyond this record. Their material is that good and if I was in management, I would not lose their number. Momma always said “go big” and Peter Gabriel even sung of the “big time.” Well, these guys did better than that. They went Colossal. Check them out peeps, you won’t be disappointed.

Ken “K Bo” Biedzynski, Editor 

      The post Colossal Street Jam’s New Release Is Indeed That….Colossal appeared first on Beato's Blog.

[meltedmagazine]

WHAT’S NEW FROM COLD LUNCH RECORDINGS 

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TUMBLE DRY - LAWNDRY 

   Lawndry’s sound is a homogeneous conglomeration of the feeling of speeding down the highway in your 1969 Vista Cruiser (as fast as it can take you) and speeding through the milky way in your casual alien spaceship. It’s not what you expect. Their overall sound is a lo-fi mixture of Smith Westerns meets The Memories. Lawndry’s eccentric album, Tumble Dry,  leads me to an unexpected feeling of confusion; it’s one of those rare albums that can only be described with experiences.

   There are many aspects of this album that make it unique. The frog croaks in “Lady of the Butterflies” creates authenticity. The guitar riffs in “Brownstone” create angst. The static in “Innerlude” creates the beginning of a story. Whatever that story may be, it concludes in “Beside Seaside.” For nearly fifteen aching minutes, we, as the listeners, are transported to a new dimension.

    The fifth and last song on Tumble Dry is an alien abduction of sorts. After a few minutes pass, I feel as though I’m listening to a washing machine. The humm of the “whoosh” becomes normal to me, as it would to any musical abductee, and I become almost numb to the sound. I am, oddly enough, incredibly interested. I feel abducted by the sound of the humm. Or, it’s just 15 minutes of a washing machine on tumble dry.

  I can only imagine the band coming up with the idea for this album. I’m sure they’re thinking, “What’s something sensical that we can create to be nonsensical?” The answer to that question can only be answered by listening to the album Tumble Dry by Lawndry.

CAMILLE’S MARKET - QUICHENIGHT

     This album is a mash of all the great jams. There’s a hint of the loud Twin Peaks in the album. Even a taste of the laid-back Mac Demarco seems to be sprinkled throughout Camille’s Market. It seems like a teen dream! The style of the tracks on this album is somewhat unconventional and hard to recognize, which is a style of music that has become considerably comforting to people, especially young people. In adolescence and young adulthood, the feeling of being alone is the scariest feeling one can experience. When relatability of strange proportions comes along, such as weird music, people can feel less alone. This is the feeling that I experience by listening to Camille’s Market.

    This album makes me, as the listener, think about how these tracks came to be. The album cover and the title brings arising thoughts and questions. First, was the album inspired entirely by the liquor store as a whole? Was the album made as any old album would be made? Was it just a coincidence that the album is named “Camille’s Market” after a cute photo of an old store? Or is there such a thing as coincidences for Quichenight, or for music as a whole?

    This is the kind of deep thinking that arises from the psychedelic beginnings of Camille’s Market. Even as the album comes to a close, a prominent rush of indie seeps into the ears, mind, and even the body of the listeners. This album may come across as simple, but it’s one of those rare collections of songs to where, when listened to at the right time, one can experience a great euphoric moment of nostalgic excitement that might even bring them back to the late 80’s.

CRYPTIC FANTASIES - PENICILLIN BABY

    Nashville's self-described "space trash" quintet Penicillin Baby is the perfect mix between the classic garage rock sound that we know well and love and the poppy psychedelic feel that can take us out to space with just one listen. I initially listened to the band’s most recent release, Cryptic Fantasies on assignment, but it quickly became one of my favorite albums of 2016. The album's jangly, fuzzy tunes  are packed with character that makes them stand out from the crowd. On the track "Daddy Drove a Hearse" we hear everything from heavy guitar to incredibly euphonious synth notes closing the song. 

   Penicillin Baby hits all the right notes with Cryptic Fantasies. It's without any doubt a treat for psych-rock lovers - and just about anybody who appreciates good ass music!

written by AUDREY KEELIN + MARRA KONDROT